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What can we do not to ruin childhood with all our language? This is how we approach our second part of the son's trilogy, Ta gueule. We found a group of children on stage; They are an invitation to have a voice, to show us how they manage to make sense of the world, how they build a body, how they write and how they create. Faced with how fascinating the child's doing and his play are, Ta gueule responds skeptically. We nostalgically acknowledge that which we believe is lost and we ask ourselves what we can do not to pass on that nostalgia, to not burden children with the weight of their own image. In front of our disbelieving and disheartened eyes, Ta gueule confronts us with the powerful world, always unfinished and always to be written about by children.

I know, however, that there are corrupt children. But what does the term "corrupt" actually mean? Have adults forgotten to what extent they were themselves corrupted, that is, excited and troubled by sexual drives, when they were young? They have forgotten this terrible passion that burned and tormented them when they were still children. I, on the other hand, have not forgotten how much I have suffered

Egon Schiele


Ta gueule was the winner of the INUIT Grant and it has been developed thanks to the attentive collaboration between Sala Hiroshima and La Blanca Barcelona, who have opened their doors to us and have provided us with a space to create the piece.

Direction & autorship : Nico Jongen

Dramaturgy & autorship: Oriol López

Space: Albert Ventura

Space construction: Oriol Corral, Albert Ventura

Performers: Catalina Puig, Marina Herreros, Sofía Szpunberg, Vera Bertalmío, Ramir Bullich & Oriol López

Movement: Antes Collado

Production: Mercedes Diz


Special thanks to: Gabriela Brncic, Víctor Molina, Amanda Rubio, Stefan Subias, Gal·la Sabaté

With the suport of La Inútil - Barcelona, Sala Hiroshima - Barcelona, Espai La Blanca - Barcelona



Sala Hiroshima (BCN)



10-Sentidos (Valencia)

120 Nature Morte with Stone and House DE
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