rafael amargo dq...pasenger in transit

Alcalá, 20 5º 28014 Madrid (Spain). Telf. + (34) 91 524 91 56 Fax. + (34) 91 521 42 61 E-mail: [email protected]

1 - INTRODUCTION

May 2005 is the commemoration of the four hundredth anniversary of the publication of part I of Don Quixote, by Miguel de Cervantes Saavedra, the literarily acclaimed Spanish publication.

Countless re-editions of this book in different languages have made this character instantly recognisable and loved throughout the world.

Don Quixote has inspired several artists, who have captured the essence of Cervantes´s play and his nobleman in their own works. Sculpture, opera, performing arts, music and the movie industry have constantly turned to Don Quixote as an enduring topic.

From the very beginning, Rafael Amargo has provided his shows with a scenic and theatrical concept. He is convinced that flamenco can have and must have all these ingredients even though they are believed to be performing arts property.

Poet in New York, one of his most acclaimed shows, is a true example of that. In this show he has performed with dance one of the most complex poetry books of the twentieth century, surrounded by other creators from other disciplines and with a modern concept that integrates them all.

El Amor brujo is another fine example of his work. Rafael Amargo choreography is inspired by the cultural heritage of Spain- in this case Manuel de Falla´s score. The San Sebastian music festival entrusted Rafael with the production of this show, which has been respectfully adapted to the original version, but with the modern view of the choreographer. He created an impressive synergy between the modernity of today, and the modernity of the days when the score was written, despite that concept already having been implied in the 1915 version.

For this special occasion Rafael Amargo has created his own particular version of this nobleman, describing through his choreographies and his theatrical concept not the play by Cervantes, but the essence of this universal character. Welcome on board to this new show called“DQ…PASSENGER IN TRANSIT”.

DQ


2- THE SHOW

DQ PASSENGER IN TRANSIT is Rafael Amargo´s new choreographic show, inspired by the character created by Cervantes. It is a contemporary show in which new technologies play an important role and audiovisual effects give shape to the settings. What we are about to see is not an adapted version of the original- which is almost impossible due to its extension- but a reflection on the best known character in Spanish literature.

Carlös Padrissa (La Fura dels Baus Artistic Director) and Rafael Amargo take care of stage direction in this avant-garde show where audio visual effects have a privileged place (quite usual in Rafael Amargo and La Fura Dels Baus art design) and Video-Art technologies and the latest news on video projection are incorporated.

Sound and visual effects have been supervised by Franc Aleu - in charge of La Fura dels Baus latest works The Magic Flute, Fausto’s Condemnation and Atlantide, and Juan Estelric –responsible of the latest shows by Rafael Amargo Poet In New York and Enramblao, among others.

Costumes have been designed by Oscar winner, Ivonne Blake (Nicholas and Alexandra, 1971) who has also been awarded with 4 Goyas for Carmen, The Bridge Of San Luis Rey, Canción de Cuna, Remando al Viento and has created costumes for movies such as Fahrenheit 451, Superman or Jesus Christ Superstar.

Music score combines different styles of music like in most of the works by Rafael Amargo. Original music for the show has been composed by Jose Soto Sorderita and granadian band Lagartija Nick – Enrique Morente’s latest work collaborator, and other collaborations such as Frank T and DNOE (Rap) and Flamenco fussion by David moreira, Rafael Gabarri, Flavio Rodrígues and camaron de Pitita.

The score also includes the song Another Dead by Jose Maria Cano (Mecano).

Despite having been originally conceived as a flamenco show, DQ is also provided with contemporary dance and Spanish folklore directed by Manuel Segovia (1991 Spanish Dance National Prize), and some of the newest dancing expressions such as break-dance and aero performance directed by Sebastian Pirato(responsible of De La Guarda Theatre Company –Argentina).

This diverseness of disciplines shown in his works distinguishes Rafael artistic character from his peers.

The story is about a young Japanese man –Rafael Amargo- , who is obsessed with video games.

This obsession goes even further when he is accidentally introduced in a video game world (the parallel between cavalry books and video games is obvious), where Quixote´s adventures will


take place, recreating some of the original scenes from the book. Space and time changes will drive the audience into a world of fantasy, where the 21st century merges with the 15th century, and where there will be two Quixotes in one. The story comes to an end in Barcelona, where the spectators cannot tell if what they have just seen through this modern day Quixote was some kind of dream or the real thing.

In the end, Bidanshi is unwilling to leave the imaginary world of the video game of Don Quixote

After Poet In New York, his most acclaimed and international show, Amargo presents a unique show, a great musical full of scenic and artistic pretensions with his particular view of this nobleman.

The excitement about Amargo´s new creation is considerable. At the moment it is being set up for the national and international tour that includes Latin America, U.S., the rest of Europe, and Japan, as well as the shows scheduled at the most prestigious theatres and festivals of performing arts in the world.

DQ is, perhaps, one of the biggest theatre productions, privately funded, and produced in Spain to commemorate the fourth centenary of the publication of the first part of Don Quixote

A true choreographic experiment that fuses two of the most stylish and innovative artists in Spanish arts: Rafael Amargo and La Fura dels Baus

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DQ


3- TOUR

DQ Passenger in Transit has been presented at the most prestigious summer festivals of Spain

Clásicos en Alcalá (Alcalá de Henares): 17 - 18 June 2005 Festival Escénica (Pozuelo de Alarcón): 25 June 2005 Festival Internacional de Música y Danza de Granada (Granada): 8 – 9 July 2005 Festival Internacional de Teatro (Las Palmas de Gran Canaria): 29 – 30 July 2005 Quincena Musical de San Sebastián (Kursaal): 4 August 2005 Festival Castell de Peralada: 18 August 2005

The show has been on at Gran Via Theatre in Madrid for 7 successful weeks and has been scheduled for a season at Teatre Tivoli in Barcelona in 2006. It has also been programmed at Teatro Principal in Valencia, Teatro Arriaga in Bilbao, and will continue in a national and international tour throughout South America, U.S., Japan and Australia.

DQ


4- SPONSORS

Audi presents:

DQ…PASSENGER IN TRANSIT

In co-production with:

With the support of:

and the collaboration of:

La Fura dels Baus is supported by:


4. STAFF

D.Q.…passenger in transit

a show of

RAFAEL AMARGO

ARTISTIC CREW

Direction and choreographyRAFAEL AMARGO

Stage DirectorsRAFAEL AMARGO y

CARLÖS PADRISSA (La Fura dels Baus)

ScriptJUAN ESTELRICH

Film directorsFRANC ALEU y JUAN ESTELRICH

Stage designCARLÖS PADRISSA (La Fura dels Baus)

Costomes designerIVONNE BLAKE

Music byJOSÉ SOTO “Sorderita”

LAGARTIJA NICKJOSÉ MARÍA CANO

ELISEO PARRAFRANK T y DNOE

FLAVIO RODRIGUES y CAMARÓN DE PITITADAVID MOREIRA

RAFAEL GABARRIHENRY PURCELLISAAC ALBÉNIZ


Choreographic contributionMANUEL SEGOVIA

PoemYLIA KAZAMA

Lights designerSERGIO SPINELLI

Costumes designer assistantANSELMO GERVOLÉS

Make up designerFABIÁN NIÑO

Sound designerJOSÉ LUIS VILLALAÍN

Executive ProducersDAVID LÓPEZ

FLORENTINO GARCÍA


CAST

Don Quijote / BidanshiRAFAEL AMARGO

Sancho / AkiraFRAN FERNÁNDEZ

Merlin the wizardALBERTO PARDO

Dulcinea / AldonzaYOLANDA JIMÉNEZ

The knight of the mirrorsRUBÉN OLMO

BasilioFLORENTINO GARCÍA

QuiteriaMARÍA LA CONEJA

CamachoENRIQUE PANTOJA

and the special appearance ofFERNANDO FERNÁN GÓMEZ

as the voice of Miguel de Cervantes

EMMA SUÁREZAs the voice of the moon

In the film: GABRIELA ÁLVAREZ (Mother of Bidanshi), DAVID LÓPEZ (Voice in the video game),

JUAN ESTELRICH (Alifanfarón), PEDRO AUNIÓN (Guard of the galley slaves), CAMARÓN DE PITITA, ALEXIS SANTANA, FLORENTINO GARCÍA (Galley

slaves), DOUGLAS McNICOL y SERGIO OCHOA (Guards), AGUSTÍN NIETO, MIGUEL VALLES, RUBÉN OLMO,

LUIS ROMERO y JULIÁN ALCÁNTARA (Hooligans),


DNOE (Peddler), MIGUEL ÁNGEL BURÓN, RUBÉN OLMO, MIGUEL VALLES (Guards of the SGAE), ADDICTOS: DANIEL ESTEBE,

ABRAHAM DE TORRES, ANGEL PATIÑO, ALBERTO PARDO, FRAN FERNÁNDEZ, ALFREDO NAVARRO (Breakers)

Villagers, warriors, hooligans, rockers, guards, galley slaves, peddlers, children, flamencos, and people of Barcelona

BalletMARÍA JOSÉ ÁLVAREZ

CARMEN ANGULOPEDRO AUNIÓN

JESÚS CARMONAVANESA GALVEZ

YOLANDA JIMÉNEZCARMEN IGLESIAEDUARDO LEALRUBÉN OLMO

YOLANDA RODRÍGUEZVICTORIA RODRÍGUEZ

ROSANA ROMERO FABIÁN TOMÉ

MIGUEL VALLESSARA VÁZQUEZ

VocalistsMAITE MAYA

MARÍA CARMONA MARÍA LA CONEJAENRIQUE PANTOJA

MusiciansFLAVIO RODRÍGUES (Spanish guitar)CAMARÓN DE PITITA (Spanish guitar)

ANTONIO MAYA (Percussion)


TECHNICAL STAFF

Assistant DirectorDOUGLAS McNICOL

Aero performanceSEBASTIÁN PIRATO

Fencing adviserANTONIO PARDO

Choreographic assistantRUBÉN OLMO

Lighting operatorCARLOS BESSIA

Video operatorPASCUAL FERNÁNDEZ

Sound operatorJOSÉ LUIS VILLALAÍN

Sound on stage operatorDAVID CUERPO

Stage Manager


OCTAVIO ROMERO

Assistant stage managerJULIÁN ALCÁNTARA

RiggersANTÓN ADBENTOSASEBASTIÁN PIRATO

Assistant sound operator (mic)ALEJANDRO GONZÁLEZ

CostumerANTOÑITA HERNÁNDEZ

PAZ TRIGO

PROVIDERSCostume maker

CORNEJO (Madrid)

Stage makerODEÓN DECORADOS (Valencia)

Shoe makerDON FLAMENCO (Madrid)

Flavio Rodrigues’ Spanish guitarsCONDE HERMANOS (Madrid)

and ARCADIO MARÍN (Madrid)

Sound recording studioLA CLAQUETA

Make up

DQ


FILM MAKING OFF


FILM STAFF

DIRECTION CREW

Directors FRANC ALEU

JUAN ESTELRICH

Assistant DirectorSERGI RUIZ

2nd assistant directorCUCHO RAMÍREZ

Script CHUCHIE HILL

Story BoardPILAR PEREA

Direction teamRAÚL LÓPEZEVA VARA

PHOTOGRAPHY CREW

Director of photographyJOSÉ ALTABLE

Camera operatorMIGUEL ÁNGEL GARCÍA

Assistant camera operatorPASCUAL FERNÁNDEZ

Video operatorsQUIQUE RODRÍGUEZ

SERGIO RUIZ

ART DEPARTMENT

Art DirectorMARCELA PERALTA


Assistant art directorANA PINILLOS

Set decoratorMILAGROS PAREDES

Swing gangsGABRIELA DORERO

VÍCTOR MANUEL VIDAL

Set decoratorLEONARDO TORTUL

Swing gang crewSPACE KEEPERS

COSTUMES DEPARTMENT

Costume designer IVONNE BLAKE

Costume designer assistantANSELMO GERVOLÉS

CostumesJAVIER ARANDA

CostumersANTONIA HERNÁNDEZ

PAZ TRIGO

SOUND CREW

Sound recordingLA CLAQUETA

Tape recorder operatorDAVID CUERPO

JOSÉ LUIS VILLALAÍN

MAKE UP CREW

Make up supervisorFABIÁN NIÑO


Make upANGIE SÁNCHEZ

NOELIA BARAANA MARÍA DUEÑAS

BALTASAR G. PINELLOLI BERNARDO

MIRIAM RODRÍGUEZ

VISUAL EDITINGLIBÉLULA PRODUCCIONES

EditorsISIDRO TERRAZACÉSAR URBINA

PABLO AGUIRREMANUEL BAUERÁNGEL URBINA

VISUAL EFFECTSURANO FILMS

ProductionTONI ESPINOSA y MANEL TABERNER

3D GERARD RUBIO

XAVIER CAMPMANYFERRAN MORACIAXAVIER SANTEDÒSCAR GIMÉNEZ

IÑAKI ASTIGARRAGAESTEVE LAHOZ

JOAN MIQUEL VADELL

Post-productionGERARD RUBIO

XAVIER CAMPMANY


MAKING OFF

ScriptDAVID TEJEDOR

CameraLUIS ROMERO

OTTO

PRODUCTION CREW

Executive producersDAVID LÓPEZ

FLORENTINO GARCÍA

Production ManagerORIOL SUBIRANA

ProducersRAQUEL ROIG

NOELIA MUÑOZ

Production AssistantsSANDRA GUMUZZIO

ASIER RIVERAPAULA NAVAS

SARA BARTOLOMÉ

COLLABORATORS

Stunt CoordinatorMIGUEL PEDREGOSA

AnimalsANIMALES Y CARRUAJES

Still photographerJOSÉ LUIS VILLALAÍN

Lighting managerEMILIANO MERINO


Best boyFÉLIX PASCUAL

JOSÉ ARCOS

Stunt riding performerEDUARDO GARCÍA

Sword fighting spezialistANTONIO LEMOS

Costome makerCORNEJO

Electric equipmentITC

JL LIGHT

Special effectsMOLINA

Transport EUROCINEMA

CateringRAFAEL

TINO LANGOS

High definition video equipmentMEDIA PRO

GeneratorCONTRALUZ

StudioPLATÓ 600

Recorded in high definition video system in Seseña, Aranjuez, Madrid e Ibiza (Spain).

DQ


PRODUCTION STAFF

Publicist in MadridDYP COMUNICACIÓN

David Sánchez y Piti Alonso

Publicist in BarcelonaSANDRA ARAQUISTAIN


Publicist in Latinoamérica y USACROSSOVER

Joe Bonilla

Asia agentJACQUELINE OKUMA

Graphic designBARBEITO & MANRIQUE

Portrait photographerEDUARDO PÉRIS

Show photographerJESÚS VALLINAS

Legal advisorJUAN M. MESTRES

Production accountantAGUSTÍN NIETO

Production assistantVERÓNICA TIRADOSANDRA GUMUZZIO

ProductionNOELIA MUÑOZ

Production ManagerKARLA RODAS

Technical ManagerORIOL SUBIRANA

Executive producersDAVID LÓPEZ

FLORENTINO GARCÍA

DQ


Fotograph by Josep Aznar, courtesy of Festival Castell de Peralada


5- PROGRAMME

ACT I

Chapter I.- Which treats of Bidanshi’s back round and his obsession with cavalry video game DQ III, and the abduction of the Japanese youth.

Chapter II.- Wherein is related how Bidanshi and Akira become DQ and Sancho, and the droll way in which DQ had dubbed himself a knight.

Chapter III.- In which is related the fantastic adventure at the Onishuma Caves..

Chapter IV.- In which is narrated Benegeli’s reasoning about the likeliness of the adventure at Onishuma Caves, concluding it should be dismissed.

Chapter V.- Which treats of how DQ and his squire return to the computer, and how they are attacked by computer viruses

Chapter VI.- Of the devastating war held by Christian Pentapolin del Brazo and Merlin against Muslin Alifanfarón, and the massive fight occurred between DQ and two Hooligans bands.

Chapter VII.- Wherein DQ poses as Passenger in Transit rock band leader and succeeded in escaping from a well-known night club.

Chapter VIII.- In which is related how forged hammers destroy consumers society.

Chapter IX.- Of the liberty DQ provided to many unlucky galley slaves, and how DQ and Sancho arrive to a harem called Dulcinea’s Club.

Chapter X.- Of the famous encounter our worthy knight had with a lewd woman he believed Dulcinea, and the memories of the windmills adventure his brains recall.

ACT II

Chapter XI.- Of the striking adventure that occurred between our valiant knight and the Knight of Mirrors, and the way their swords halted in time with no record of how this episode ends.

Chapter XII.- Wherein is related Spanish horses riding style, and other events truly delectable.

Chapter XIII.- Wherein is related the way DQ is on Cide Hamete Benengeli Arabic computer technician’ trail.

Chapter XIV.- Wherein is related the mixture of the three prevailing religions in Spain; Jewish, Christian and Arabic


Chapter XV.- Wherein is related the first time DQ and his squire Sancho see the Sea

Chapter XVI.- Of what happened DQ and Sancho on entering Barcelona, where music street illegal vendors and SGAE (Spanish management entity devoted to the management and defence of intellectual property rights) had a hostile confrontation.

Chapter XVII.- Wherein is set down the implausible story held at the puppet-showman Master Pedro’s where DQ and Sancho were turned into puppets.

Chapter XVIII.- Wherein an account is given of the wedding of Camacho the rich, together with the incident of Basilio the poor.

Chapter XIX.- Of the stellar journey the ingenious knight took on the back of the famous horse Clavileño

Chapter XX.- Wherein is related the incident where the Moon challenges DQ to a duel of death.

Chapter XXI.- Wherein is related the huge fight the Knight of the White Moon had with DQ.

Chapter XXII.- Of the apparition of Dulcinea and how DQ dies as the video game finishes.

Chapter XXIII.- Which treats of Bidanshi’s desire to live in a video game world rather than the real life and how it extinguishes the life of Bidanshi.

DQ

Fotograph by Josep Aznar, courtesy of Festival Castell de Peralada


6- ARTISTIC CREWRAFAEL AMARGODirector and Choreographer

Rafael Amargo is eclectic either ways; as a dancer or as a choreographer. He had from his teachers the purest flamenco style, although he has cleverly assimilated any new conception of dance through the years, like the lessons he learnt at Martha Graham´s School during his stay in New York. Rafael Amargo´s choreographies overflow with both conceptions, perfectly matched on the stage: Tradition and Modernity. His choreographies are often closer to contemporary dance, but they never move further away from the starting point, the backgrounds: Flamenco .

He has always been in straight contact with the Arts and culture world; whom have helped him to open his mind to explore new horizons in his choreographies: Luis Gordillo and Esperanza D´Ors sponsored his career, Bruce Weber and Christopher Makos made outstanding photo productions for him, he choreographed “Peine en el viento” by Eduardo Chillida, for the Chillida Leku Museum in Hernani (Spain). Rafael Amargo has raised fans through his short career. Even uncountable celebrities have followed his steps from the start.

Though Rafael Amargo has always claimed the theatrical concept of Flamenco and the Spanish dances, (Just like Antonio Gades has), he has never given up Tablaos because he thinks Flamenco dancers should not get apart from the origins of this art.

Rafael Amargo and his shows have been awarded many times. He has received four Max Awards of the Scene Arts (The most important theatre distinction in Spain): two for the show AMARGO (Best Show and Best Male Dancer), one more for POETA EN NUEVA YORK (Best Male Dancer) and one for EL AMOR BRUJO (Best Male Dancer). In September 2002, gets a “Positano Leonide Massine Prize” , in recognition for his work as a choreographer and adancer. This award is the most important distinction given to Dancing in Italy. This very same award had been given before to Rudolf Nureyev, Maurice Bejart, Lindsay Kemp and other stars of Dancing and Ballet, and the APDE Award (Spanish dance and flamenco teachers association), together with Antonio Gades and Matilde Coral.

However, have been people who have received Rafael´s creations more keenly. Sold out theatres around the world, and many awards including three El País de las Tentaciones People´s choice awards: for Amargo (Best dance show 2000), and for Poeta en Nueva York (Best dance show 2002 and Best show of the decade ) are a reliable evidence of his success.

The shows created by Rafael Amargo are:

LA GARRA Y EL ÁNGEL (1997) AMARGO (1999) POETA EN NUEVA YORK Inspired in the poem by Federico García Lorca (2002) EL AMOR BRUJO by Manuel de Falla (Gitanería 1915) (2003) ENRAMBLAO (2004) D.Q. PASSENGER IN TRANSIT (2005)


LA FURA DELS BAUS - Carlös PadrissaStage Director

La Fura dels Baus is a theatre company in a constant process of evolution which since its foundation in 1979 has taken on new challenges in the performing arts world. Their shows and some of their activities around the world have caused a deep impact on critics as well as in the audience. It is reasonable to assume that since Accions (1983) La Fura dels Baus could easily be considered a cult company for thousands of fans all over the world. Throughout the years they have developed a very peculiar style with its own language and aesthetics, as a result of collective work.

Between 1979 and 1983, La Fura dels Baus performances where held on the streets. Those street shows would eventually become a new concept of theatre based on the classic idea of absolute entertainment, which makes use of every scenic resource to please the audience. Perhaps La Fura dels Baus most important contributions have been inserting the play within the space traditionally reserved for the audience and adapting the performance to the natural architecture of the place where it would be held.

The combination of all these disciplines and techniques defines the FURERO LANGUAGE, a term frequently applied to other theatre companies work. Accions (1983) was the first show that fitted into this genre followed by Suz/O/Suz (1985), Tier Mon (1988), Noun (1990), MTM (1994), Manes (1996), OBS (2000), Matria 1- Teatrlogía Anfibia- La creacion (2004) and OBIT (2004).

In the early 90´s, La Fura dels Baus extended their work to other activities such as classic theatre, digital theatre, street performances, opera, corporate events production and stage direction in music concerts among others. They conceived the inaugural ceremony for the 1992 Olympic Games in Barcelona, broadcast live to over 150 countries with an estimated audience of 500 million viewers. As a result of that, companies such as PEPSI, Mercedes Benz, Peugeot, Volswagen, Swatch, Microsoft, Absolut Vodka, Columbia Pictures, Warner Bros. Inc, or Sun Microsystems have trusted them with some of their worldwide promotional activities.

Their particular vision of entertainment shows in events of large format like; L`homme del mil.leni, that congregated over 20,000 people to welcome the year 2000 in Barcelona; La divina comedia in Florence gathered 35,000 people; The knife in the eye was presented to an audience of 25,000 spectators; or their last show Naumaquia 1- Tetralogia Anfibia- The neverending game at FORUM of cultures in Barcelona brought together over 15,000 people.

La Fura dels Baus also owns a record label that contains 14 of their musical pieces, although some others have been published with different record labels such as Dro, or Virgin. They have also given seminars and workshops to train actors and actresses in the FURERO LANGUAGE. New technologies have been easily adapted to their work, Work in Progress 97 is an example of that, for this show they created an online link up of a live performance being held simultaneously in different cities.

Atlantide by Manuel de Falla, Le Martyre De St. Sébastien by Claude Debussy, La Damnation de Faust by Hector Berlioz and DQ. Don Quijote by Jose Luis Turina are some of the operas directed by La Fura.


In May 2002 at Manheim, they launched the opera On The Marble Cliff, based on the homonyn novel by Ernst Jünger which showcased video conference as a new element in scenography for opera. That same year the opera Amazing Symphony by Berlioz was launched in Palermo (Italy), a brand new interpretation of one of the classics of symphonic music. La Fura´s last operatic work was La Damnation de Faust for Rühr Triennial (Bochum, Germany) in July 2004.

La Fura has also produced non conventional and daring versions of classics of literature such asF@ust 3.0, a show inspired by the novel by Goëthe or Ombra, an alternative reading of some of the texts by Federico Garcia Lorca.

Classic theatre has been developed by La Fura as well. In september 2001, Euripides´ The Trojan Women was launched, co directed by Irene Papas and La Fura, with music by Vangelisand scenography by Santiago Calatrava.

In May 2001, La Fura presented Fausto 5.0, their first incursion in cinematography. This film has been co directed by Isidro Ortiz, and has been awarded a Melies de Oro 2003 for best European Picture Of Fantasty Film Industry.

Last 3 October, XXX, their version of Marquis de Sade´s Philosophy in the Boudoir, finished its international tour in Madrid.

In 2004, on the occasion of its 25th anniversary, La Fura created Naumon, perhaps its most audacious project. Naumon is a ship that has been sailing in the Mediterranean Sea carrying artistic, cultural, and humanitarian relief containers.

OBIT is La Fura´s latest work, which was launched in October 2004 at the High Season Theatre Festival in Girona (Spain). OBIT talks about how we face up to death, and means La Fura´s return to its Furero Language.

DQ

FRANC ALEUFilm Director

Franc Aleu was born in Barcelona, Spain, in 1966.

In the early 90’s, after having worked as a fashion photographer he decided to start making audio visual creations for which he has won awards in San Sebastian and Cannes. But it was in 1997 that he joined La Fura (La Damnetion De Faust, Le Martyre De St. Sébastien, Atlantide, The Magic Flute)

Aleu is also known for its collaboration with Roland Olbeter, in The Ninth Symphony by Beethoven, for the Calgary Liric Theatre (Canada).


At the moment he manages URANO FILMS, an important production company with whom he has produced films, television, and multimedia.

DQ

JUAN ESTELRICHFilm Director and Script

Juan Estelrich Revesz was born in Madrid (Spain) in 1963.

He has a degree in Sciences specializing in Cinema at Universidad Complutense de Madrid, and Geography and History at U.N.E.D.

During his first years at university he combined his studies with work in different areas of the movie industry, which has provided him with a wide knowledge of cinematography.

At age 22 he worked regularly as a technician, specializing in high budget pictures and difficult production.

In 1992 he shoots his first film La Vida Lactea, starring Mickey Rooney, Marianna Sagebregth, and Thomas Heinze.

In 1996, he created Alma Films S.L. to produce his own films. With this company he filmed Pintadas, starring Emma Suarez, Adolfo Fernandez and Fernando Fernan - Gomez.

In 1999 he founded SpiritLogic S.L.,a company that has developed a new concept in post production techniques.

In 2001 he creates Passion Multimedia S.L. specialized in post production.

Throurought 2003 he directs and produces a serie of flamenco videos called Noches En Casa Patas.

He has produced and designed audio visual effects for Rafael Amargo´s shows: Poet In New York, El Amor Brujo, Enramblao and DQ… Passenger In Transit.

DQ

IVONNE BLAKECostume designer

Ivonne Blake stands out as theatre costume designer in Manchester and London. Working in London Festival Ballet she starts her collaboration with the film director Franklin J. Shaffner, in the film Nicholas and Alexandra, wining an Oscar for Costume Design in 1972.


She has collaborated as designer in important films like Fahrenheit 451 (Francois Truffaut), Superman I & II (Richard Donner) or the nominated to Oscar The four Muskeeters (Richard Lester). In Spain has collaborated with important film directors as Jaime Chávarri, Gonzalo Suárez (Rowing in the Wind, Spanish Goya Award for Costume design in 1988), José Luis Garci (Cradle song, 1994, Goya Award), Vicente Aranda (Carmen, Goya Award in 2003).

Designing the costumes of The Bridge of San Luis Rey wins her fourth Goya Award in 2004.

Her recent works are Tirant Lo Blanc (Vicente Aranda) and Goya’s Ghost (Milos Forman)

DQ

MANUEL SEGOVIAGuest choreographer

Manuel Segovia, was born in Segovia (Spain). He attended the Royal Conservatory of Dance of Madrid combining these with some activities at FAE (Association for Spanish Arts Promotion). Subsequently he studied at the National Ballet of Spain

He started his professional career at Teatro de la Zarzuela, choreographed by Alberto Lorca.

Afterwards he spends a few years on tour with Jose Tamayo´s Antología de la Zarzuela. During those years he had the chance to work together with Placido Domingo. He has also starred with Antonio Gades, the Spanish film Carmen by Carlos Saura.

In 1993 he and Violeta Ruiz created their own dance company Ibérica de Danza, where he developed his creative side. In 1994 he produced his first show, El Templo de las Musas, and that very same year he was awarded second prize at the 4th Choreographic Contest of Spanish Dances and Flamenco for his play Cerialia.

He and his company have been invited to the most prestigious Dance festivals like Madrid en Danza, Cervantes Festival in Mexico, or Jerash Festival in Jordan among others.

In 1999, on the occasion of his company’s fifth anniversary, he directed Encuentros, un lustro de Ibérica de Danza, setting a precedent in Spanish dance, in which he updated some of the most traditional dances of Spain.

In 2001 the Ministry of Culture of Spain gave him special recognition for his work on updating Spanish dance.

In 2004 he receives the prize, Premio Villa de Madrid “Antonio Ruiz Soler” as choreographer..

DQ

Alcalá, 20 Of. 50428014 Madrid (España)

Tlf. + 34 91 524 91 56 Fax. + 34 91 521 42 61E-mail: [email protected]

Booking: Karla [email protected]

www.rafael-amargo.com

rafael amargo dq...pasenger in transit

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