Concurso de malos talentos

The company José y sus Hermanas (Explore el jardín de los Cárpatos) invite the Millennial and Z generations to imagine with the tools of theatrical legacy some utopian and better futures. If you have thought of creating an onlyfans to pay for your degree, this is your show.


At a time when "everything is performance", José y sus Hermanas investigate ways to imagine other ways of living with theatrical tools. Its members reproduce scenes they have repeated before, recurring scenes, one after another. They repeat the same thing but with changes to be able to find other possibilities. Pure craft. In theater and in life.

Concurso de malos talentos is a show - theatrical reading - concert - procession - rehearsal in which the company is trained in a center of low performance. The stage-plastic device that proposes the show, without video projections on this occasion, bets on understanding the stage box as a magical box revealing surprises. In this new collective adventure, visual language is stressed as the image often functions as a stimulant of great changes. José y sus Hermanas threw themselves at these futures as if they were potential scenarios to speculate about what was before and with the desire to know, be and inhabit what will happen next.

Millennial, Z and X generations are beginning to show the symptoms of a system of hyperefficiency: the relations between productive and consumer time have not only expired, but are also resignified at great speed. The new adult generations manifest this paradigm shift that opposes the old imposed demands. They value concepts such as wasting time, wandering or inhabiting uncertainty. This tenderly radical proposal aims to actively forget success and demands for progress leaving room for other ways of acting, being and enjoying. In the theater and in life.

"Tiago Rodrigues has already used a Shakespearean sonnet. Tania Bruguera has already done so. Romeo Castellucci has already done it. Gisèle Vienne and Michele Rizzo have already done it. Rodrigo and the Count have already done the reading of the seats in the theater. Samuel has already done it. Angelica Liddell has already done it to deny our mothers..."
_Ignacio de Antonio Antón


WHAT THE CRITICS SAID

“A suggestive unclassifiable theatrical performance of good talent. With Concurso de malos talentos follows experimentation and breaking down all possible barriers, combined with classic theatrical references even distant in time. Off screens, the screens are dead, long live the curtains! Off with electronic guitars, die the electronic guitars, long live the gralla! Off tablets, mobile phones and digital readers. Dead tablets, mobile phones and digital readers, long live the paper book... and if the book burns and takes smoke, when talking about Garcia Lorca, even more! [...] Here, the surprise is the physical excess of each of the four actresses and the actor who make up the cast. Sweat, as it sounds, is not a metaphor but a reality. Encapsulation of the bodies in the bodybuilder silicones is a risk even for respiratory circulation. If you want to do good theater, as the five say, you also have to really sweat.”
Andreu Sotorra – Clip de teatre

“José y sus Hermanas are clearing the way for the companies of artists who touch 30 years. They know they are fortunate because they have had practically all the opportunities available to them. But in turn they are recognizing that the ideals of absolute triumph are a utopia-Rosalía. [...] Here they demonstrate, from a new lack of definition in the forms, an excellent mastery of the pause. It is a well-executed theatrical game, full of intuition. Balanced among the five components. With many more layers than is apparently seen. In this confluence they breathe a structural bilingualism, a natural hybridization, nothing forced. [...] When the play was over, the whole family of spectators wondered what had happened. There is not the unique and implacable voice of Angélica Liddell (Caridad, The Scarlet Letter); there is the forcefulness of Romeo Castelluci (Bros) or Jan Fabre (Belgian rules). There are echoes of everything a little in an outdated carnival, passed also the cobla and synthesizers. Confusion is the adobe of creativity, and it is sown, and very well rooted, both among younger and more adult viewers. [...] Seen from the public, it is a fertile work, a company that does not drowsy, that far from being blocked, interests to follow its trajectory.”
Jordi Bordes – El Punt Avui