Nuria Serra presents LA TIETA May 14th at HATCH!
More About Nuria…
Born near Barcelona, Núria showed from an early age aptitudes for theatrical expression and physical movement. Later she trained in classical dance at the Institut de Teatre de Barcelona and became interested in other disciplines such as jazz or contemporary dance.
In parallel to her artistic education, she graduated in Romance Philology from the University of Barcelona, developing a compilation of poems in Spanish and Catalan for the final project. As a performer, she has developed her work in different companies, dance shows and national television. Her company project began in 2006, the volume of creations and collaborations led to the concept of what is now known as NS danza Company.Her pieces have always been strongly linked to the theater and the scene. There is no choreography without symbolism, all intended to reach the viewer and convey sensations, ideas through which to explain short stories. Some of her works have been awarded at international fairs, such as the “Kulturboerse” of Freiburg with “The Tic-Tac Colors”. While waiting to elaborate her first solo project, began an upward creative career spanning more than six choreographic works. As a result of all this creative work, Núria Serra has been invited to give workshops and courses not only in Catalan and Spanish dance schools, but also in North America, where she has shared with students and professionals her particular creative vision of the origin of motion.
At the same time, Núria continues her creative work directing various projects that she combines with the artistic direction of Cia NS danzafor companies, organizations and other creators.
Why is it helpful to present a work in progress?
Present a work in process is very interesting not only for the choreographer but
also for the audience. Allows an original idea can grow, take shape and enrich.
These are ideas that are boiling like a pot, something incandescent, which is still
being created at the moment is exposed, as an iron molds, and that allows to
receive changes from creator, the audience, the media, the feelings, the public, the
programmer, the theaters.
It is a process in progress, i.e., that changes with each viewer’s point of view, it is
able to receive more, to go further, to improve, and to grow as a diamond in the
I think you always have to be able to accept constructive criticism, but still be
yourself and still having a personal stamp. Every day it seeks for more
differentiation, authorship. It is a necessity in our world, originality, a priority of
the creator, be yourself, and for this we must be able to receive arrows, inputs, and
transform them into a new being.
I consider the work in progress as an inventory of ideas that await its packaging to
become perhaps eventually in a new show for example, adding sauces and
condiments, with good stage direction, set design or costume.
It is a base, a settlement of creative ideas that will need a wide views vision to
collect points of view, and will go like a sieve filtering elements to be added to the
gearing. With a final investment of time, it will become a grand final product.
I think it is necessary for all artists to show as much and as many times as possible,
his works in pure form. The work is to be shown, not be enclosed in a study.
Should breathe, gasp for air, know, accept, refuse … in one word, grow, and that is
not possible if the creator is enclosed within its shell. Should open its doors, its
hatches and let everyone in, go down the stairs, investigate, touch, change,
experiment … only thus something will come out that in some way will attract
Who are the most rewarding dancers for you to work with and why?
I think the best dancer to work with me should meet three important qualities:
– have a good technique and know himself (what qualities or abilities and what
their points to improve). I do not want a star. I do not like artists. I like
interpreters, so I like theater a lot and many times I use actors in my productions.
– be open to incorporate into his dance new artistic languages and at the same time
can provide to my style other points of view.
– Integrity and maturity. I not only care about age. I think there are very young
dancers but with a movement and a way of working both in class and in the study
of very adult way.
Therefore, it must be formed, but the most important thing is to want to provide
and let to be contributed.
Why is it important to present this piece of choreography to audiences in NYC?
I think, just to have the opportunity to present this piece to the public of New York
is important because it is the center of creation of the world where many cultures
converge, where everything is possible and where we can show unprejudiced as is
oneself, where all can be accepted. Very often is easier to show yourself through
this city than from where you belong.
In New York you can find the best in many areas and in which by nature is a
creation center that works alone, but also accepts people from all origins. The New
York public always wants more, always expects more, and is not satisfied with
what it has. It thrives on many races and many cultures, but it has its own identity.
It has its own style, its own pace and never stops walking, ever mutating, and does
not stop moving forward. Go forward and grow together in New York can mean a
What should HATCH audiences look forward to in your work?
I hope to cover various expectations of audience and participants.
I think the public should not be lied. Nor the jury of any contest. For me the
audience is like a father or a mother. Knows you. Sees your intentions from the
seat and you cannot let him down.
A creator must be transparent and show his work without superfluous elements.
I think in my work the audience will find a mise en scene sincere and honest.
I feel in this regard as a simple meal, without sauces, something simple and does
not choke. It allows proper digestion and eaten with the senses rather than the
mouth. It provides calories, vitamins and necessary elements. I’m not a cake. The
sweets have never liked me, seem much but then burned away.
I imagine they also look for something different in the choreographic approach, not
just a dance or people moving around the scene. The movement began with the
music, the rhythm or words, with a feeling or a situation. I think as from the
experience and thereby will find a story in my proposal. My story. Something
Mediterranean, with essence, with pain but with joy, with passion, sweetness and
choreography and an interpreter that uses the technical elements as they are tools
to convey what I feel. I like to approach people, touching their feelings, stir up their
insides, beyond creating something beautiful. The world is full of great performers,
but not all actually touch what is called “fiber”.
I like to go through, with my choreographies or my words, the “shell” or “shield”
that we people put daily. I want to reach those elements that bring us as people, as
human beings … I do not like to get away, I like to go on stage to share with people,
to open them and be able to contribute something to this thing we call “world”
from my experience and my language, dance.