FORMATION and history
ACME was created in 2016 with the purpose of unifying all stage and education work created by e Albert Quesada and his collaborators Federica Porello, Zoltán Vakulya, Mireia de Querol and Marcus Baldemar, and has developed over the years by performing and creating around Europe.
Albert has directed all the performances until 2016: Solo on Bach & Glenn (2005), Solos Bach & Gould (2010), Trilogy (2011, created with Vera Tussing), Ensemble (2012), Slow Sports (2012), Wagner & Ligeti (2014), Slow Sports Outdoors (2014), Slow Sports Kids (2015), OneTwoThreeOneTwo (2015), Viva (2016), It’s time (2017)(with Federica Porello & Zoltán Vakulya), Flamingos (2019).
ACME will also collaborate with other artists with similar interests and affinities.
ACME creates work and is interested in art that focuses on:
the love for detail
the endless complex relations between movement, music and meaning
the analysis of the temporal structures and repetitions
how music can express and communicate ideas
how organised noise of music evokes images and turns them into thoughts
speed and its different qualities in stage performances
the coexistence of different temporalities
learning skills from musical compositions
the proprioception and awareness of moving bodies
ACME teaches adults, professionals, amateurs and children. The members of the company teach the skills developed during the creation of stage work.
ACME & THE MUSIC
ACME and its history with music ...read more
Piece by Piece ...read more
Solo on Bach & Gould was a detailed, playful study of Glenn Gould’s performance of Bach’s Goldberg Variations, and Albert's own response to listening to them.
Working with Vera Tussing on Trilogy allowed Albert to expand this same precision and playfulness to explore Beethoven’s piano sonatas, as well as rock music from JS Rafaeli and the operas of Bizet.
Slow Sports was an attempt to apply this examination of cultural meaning to another realm of disciplined participation and spectatorship: competitive sports. What does it mean to compete in an athletic event? What does it mean to experience others doing so as a spectator?
Ensemble was a short trio exploring the role of the conductor, inspired by Leonard Bernstein's word and with the help of Beethoven, Brahms, Bernstein, Shostakovich and Haydn.
With our last group piece, Wagner & Ligeti we returned to my ‘original inspiration’, interrogating modes of experiencing orchestral music in the ‘Western Tradition’.
The creation of OneTwoThreeOneTwo allowed us to expand this field of enquiry to the semi-improvised musical language, rich cultural history, and free-flowing connection between performer and audience of the flamenco tradition. Surrounded by a 360º audience, the intensity of the music from Sabicas, Miguel Poveda, Manolo Caracol and Camarón de la Isla was parallel to the intensity of the proximity from the dancers.
With VIVA Albert directed a group of 15 dancers exploring big group constellations, movements and games under the unashamedly beautiful Vivaldi's Four Seasons.
For It's time, we are finally working with live music and live electronics. Octavi Rumbau, the composer, will help us provide the right experience.
In Flamingos, with 7 dancers onstage, we explored flamenco's intensity through Maria Callas, Elton John, and Whitney Houston, learning that being flamenco might have very different looks and feels.
ACME's full history and different artistic processes will be available online in the future.
Scores used for the choreographies
Images from the creation