KLÉ

"The stage has been continuously renewed and the piece has changed rhythm, light and proposal to the sound of Lambrinov's violin. At the end of the show, the performers have gone in search of their director, Teia Moner , also designer of the lighting and some of the objects, puppets and scenes that led the play. The audience gave them a long ovation and the shadows of the actors in the stage to be an active part of the show, convinced that he has enjoyed a privilege".

The truth is that the corollary of this show could not have come out better: the power of the images, the virtuosity of the costume changes and the array of magical effects, scenes boasting a fresh and highly accomplished freneticism, always with a colourful visual base that is masterfully fit into the pictorial universe of Klee and the Bauhaus. And it’s all served up in a succession of scenes following the rhythm of Vassil Lambrinov’s live music and the rich soundtrack accompanying him.

Embrossa't openly invites us into Joan Brossa’s world, into his idea that the ‘poetry reader is an active agent’, that is, the reader actually finishes the work. By all evidence, the resources used in this this gem of a show, which would be unfairly classified as a children’s show, are powerful enough to stimulate the fantasy and participation of audiences of all ages. The architecture of the show is agile, fun, educational and light at the same time. Lights and costumes contribute perfectly to its dreamlike feel. Particularly interesting is the capacity of the dancers and, I would call them, actors and magicians, to coordinate choreographies with magic tricks and different dance and acting styles, while keeping it all fun.

The artistic director, Teia Moner, celebrates the figure of pioneers in the creative field who have used art as an expressive means of struggle in the era they were fated to live in, while also as a formula to assert individual freedom. This is a feverish show that manages to keep up the pace and get children and adults alike clapping from the very start. The show aims to delve into the painter’s personal life while also exploring a way of making and viewing art. Therefore, it is an appeal to children’s creative spirit.  

In terms of technique, careful work is denoted, which is essential to achieve the visual theater goal that is being proposed. To the visually powerful universe is added the fantastic, unreal component, which comes from the hand of illusionism, well integrated, without the magnificence of magicians. Spectators let themselves be mesmerized by each new visual surprise. The power of images and live music are the strong points of this walk through the colorful universe of Paul Klee.