Daniel Fernández

The scene and the body on stage. Here is my main interest in research concerning the body. The voice on the scene is movement, the body on stage is movement, singing on stage is movement, silence on the scene is movement, the music scene is also movement ... and from there my interest in researching different universes to connect them in the same place.

I am interested in research of body and movement to create a language for each choreographic proposal. Discover the infinity of movement to express different concepts that concerns me, or I simply want to play with creatively. In that way I can guide the concept with body language.

'The imaginary' placed him in different layers of meaning that could produce a piece, creating universes of images where the viewer can take part in an active way. The viewer is what the coach wants to see, and at the same time the viewer's eye of meaning leaks by overlapping languages. Therefore, I want to create different landscapes with different 'ingredient's that have previously been investigated.

Landscapes can be formed by the dance, the theater action by the sound space, and different performing arts resources creating a multidisciplinary scene: so then, landscape is my focus and interest to create reality and unreality, normality and abnormality.

I'm interested in the scene, and the body on stage. That is the main reason for my research. As a creator I truly believe that the body can be transformed into any kind of shape on stage. The body on stage belongs to multiple ideas. The body can be molded at the expense of any concept. How can we generate new discourses from the same body? I can write an endless number of unanswered questions.

I think dance is an eternal labyrinth for research. I could spend hours just working on how the right elbow meets with his left knee. I like the details. The breath, and every discovery of poetry that I see in my pieces, they become the perfect dose to know that what I'm looking for, is the only thing i'm seeking for: beautyness.

Daniel Fernández


Bio

Daniel Fernandez is graduated in BA Choreography at the 'Institut del Teatre' de Barcelona. It is formed at the School of Ballet 'Eulàlia Blasi' and acting Studio 'Nancy Tuñón'. He Developed and improved his knowledges with different professionals from the dance world, such as Janet Panetta, Miguel Gutierrez, Alix Eynaudi, Mathilde Van de Meerendonk, Guillermina Coll, Roberto Fratini, Sandra Marin, Allison Brown (Forsythe), among others, and Movement Research in New York. He took part as an assistant choreographer with the company IT Dansa (Barcelona) and her artistic director Catherine Allard. Also a movement assistant for Aimar Perez-Ghali with a piece called 'Accumulating' for 'SALMON' festival at Mercat de les Flors, Barcelona. Daniel Fernandez has founded 'Mad Winds Company' (2013), formed by different professionals in performing arts in order to develop constant research on movement and scene. He got a Residence for creation at 'La Caldera', where he could develop some languages regarding 'body and voice' for the piece "An Angel at My Table" (2015) at Estruch residency and Creción Factory (2016). The company has also been selected by the department of culture and APDC (Catalan Association for Dance professionals) to present his dance piece "Nijinsky" at Dance Festival within the framework 'Sismograf'- Balla'm un llibre'. The Company was also selected for La Pedrera House- Joves Ara, to present the piece "Mud" (2014). Among ohters the piece "Comment Dire" was presented at the theater 'Círcol Malda Malda' and MACBA (Barcelona Museum of Contemporary Art, 2013): with the same piece, he obtained an art residence at the' International Dance Festival Graus' in Huesca. The piece "Der Kuss" was presented to Calella Music Festival, NEC.