In artistic practice there are no fixed laws of behaviour, or tasks that can be wholly defined in advance, not even for the dramaturge. Every production forms its own method of work. Dramaturgy is always concerned with the conversion of feeling into knowledge, and viceversa. Dramaturgy is the twilight zone between art and science. Dramaturgy is also the passion of looking. There is no essential difference between theatre and dance dramatturgy, although the nature and history of the material used differs. Its main concerns are: the mastering of structures; the achievement of a global view; the gaining of insight into how to deal with the material, whatever its origin may be – visual, musical, textual, filmic, philosophiccal, etc. Dramaturgy today is often a case of solving puzzle, learning to deal with complexity. L’animal a l’esquena – Centre for Performing Arts.
The creation of the centre responded to the need of its founders: MariÅLa Munoz and Pep Ramis, the artistic directors of Mal Pelo, to open up their structure in the form of a dance company to a network structure based on the interchange with other artists and creators. In 2001, toggether with Toni Cots - artistic director and producer of many performiing arts international projects -, they establish a partnership in order to define the contents and main objectives of L’animal a l’esquena, and since then they work and share its artistic direction. The main aim of L’animal a l’esquena is to set up the links and connnections between artists, scholars and the public, in such a way that the center becomes a ‘shared place’, in a framework for research and cross-disciplinay artistic work. It attempts to reflect the urgent need of the contemporary art work to create a zone of coherence, based on the presence of different voices and views related to visuality, textualiity, identity and corporality. A temporary refuge that recognises and accepts diversity.