Faced with the critical discourse that appears to have reduced narration to an element removed from the spirit of dance, “Antistories” attempts to rehabilitate the story, presents the whys and the wherefores of an infinite history of intersections, convergences and complications between the malice’s of narration and the malice’s of dance. It does so by identifying the evidence of a dance secretly inscribed in the unexpected events of the story (from its original form, the myth, to its latest derivations, in the post-modern novel) and it does so through dialogue with different protocols of thinking and doing, from figurative art to 20th Century philosophy, from physics to biology.

This heterogeneous book speaks about clouds, water lilies, shipwrecks, panoramas, fabrics, warps and wefts, without losing sight for an instant of the most varied expressions in dance today and the plurality of authors that shape their poetry like that of an “extreme” story. What it offers is not simply a revolutionary read on the brotherhood of body and story, but rather a general theory that attempts, dynamiting some common areas of criticism, to rehabilitate the choreographic vocation of modern dance, discover the ornamental roots of performing dance, and demonstrate that dance, like all myths, constitutes something like an admirably “collateral” effect.

Roberto Fratini holds a PhD in Performing Arts from the Universitat Autònoma of Barcelona and teaches the Theory of Dance in the Conservatori Superior de Dansa of Barcelona. He is a dramatist and essayist. He has created various dramaturgies for choreographers in Spain, France, Italy and Switzerland and regularly runs specialised courses and workshops on the theory and dramaturgy of dance in different university institutions and European theatres.


A Contracuento

La danza y las derivas del narrar
Roberto Fratini
Colección Cuerpo de Letra (4): Danza y Pensamiento
488pp./ 21x14.5cm./ /

9788461565528 Castellano


Portada del libro.


This book compiles twelve essays that reflect fundamental aspects on the ways in which we approach the relationship with the past, memory, contemporaneity, corporal re-identification, the processes of reconstruction, the concept of envelopment, the passage of time, the ephemeral nature of the stage, archives and documentation.

Many current performing practices demonstrate that the dialogue with the past, going beyond nostalgia and mythification, reconsider their own present to project a possible future. These practices assume the responsibility of repositioning the body as a relevant social, cultural and artistic sign in terms of the course of its own history. Making or practicing history is not so much associated with the desire to belong to a hegemonic discourse, as it is with unveiling the ways in which history is written and warning about what history does.

In the essays, the reader will find reflections of artists, theoreticians and critics, who agree that the artistic practice enables new methods to be considered that review our relation with the ways history is made.

Isabel de Naverán is the co-founder of ARTEA and a researcher at the Archivo Virtual de Artes Escénicas. A visiting professor for the Master in Performing Arts Practice and Visual Culture (UAH) and the Master in Performing Arts and Sciences (UPV/EHU). She is a member of the editorial board of “Cairon. Revista de Estudios de Danza” and is the co-editor of “Cuerpo y Cinematografía” (2008).


Hacer Historia

Reflexiones desde la práctica de la danza
Isabel de Naverán (ed.)
Colección Cuerpo de Letra (3): Danza y Pensamiento
212pp./ 21x14.5cm./ /

9788461428021 Castellano


Portada del libro.


The second book in the “Body Text” Collection compiles seven essays revolving around the view, from the composition and the views of the spectator today, essays that analyse how both views construct diverse architectures of the ephemeral.

Constructing or viewing a choreographic work is a continuous attempt at creating spaces in time and shared moments. It is at this intermediate place between the view of the artist and that of the spectator, where other perspectives are opened to the eye, to thought and the experience, where the representation is transformed into an active relation between the presence, thought and action, where both the view of the artist and that of the spectator assume a collaborative relationship as authors and composers and open possibilities of other affections, other politics and other architectures of relation, where everything in existence is not exhausted in what is visible.

Ana Buitrago (Eastbourne, 1967) is an independent choreographer and dancer. She holds degrees in English Philology from the UCM and in Dance Performance from the SNDO (Theaterschool, Amsterdam). Since 1992, she creates her own choreographies and performances both alone and with other artists, while at the same time carrying out extensive teaching and research labours. From 1995 to 2001, she was a member of the group of choreographers UVI-La inesperada and co-director of Estudio 3 (Madrid). From 2004 to 2007, she was joint artistic manager of La Porta (independent dance, Barcelona), a structure with which she continues to collaborate occasionally.


Arquitecturas de la mirada

Ana Buitrago (ed.)
Colección Cuerpo de Letra (2): Danza y Pensamiento
212pp./ 21x14.5cm./ /

9788481388350 Castellano


Portada del libro.