The sacred mountain of Pep Ramis

La montagne sacrée de Pep Ramis

Photo: Tristan Perez Martin
Starting from the simple observation that the human being is capable of the best as the worst, Pep Ramis has imagined a character of many facets, all except black and white.

Although it mainly affects to the scenic design and the drama, Pep Ramis has always regarded the body as his main tool of work. When he is discovered as a performer in a duo alongside choreographer Maria Muñoz in The fifth winter (at the Agora in 2015), the catalan artist is engaged, this time to the year of the solo by integrating drawing, singing, and the text in his dance. An approach to choreographic personal and non-academic-was forged in the long 30 years of co-authoring with his partner dancer in the company Mal Pelo.

“Return to the form of the solo was a desire I had for a long time. After all these years, all this experience accumulated, I wanted to develop my ideas, and especially ask questions about my true interests as a performer who has more than 20 years, ” explains the artist’s fiftieth anniversary, which today seeks to get rid of superfluous things to get to the bottom of what it is interested in. “I started dancing at the age of 24 years, and before that, I’ve mostly done music. I studied the cello and, coming from a family where drawing was strong now, I’ve always drawn. It was important for me to include also these elements that have marked my journey as an artist in the creation process. “

Portray the contradictions

Starting from the simple observation that the human being is capable of the best and of the worst — “able to imagine wonderful inventions, but to use those same inventions to kill and wage wars” —, Pep Ramis has imagined a character of many facets, all except manichean : “Often, one wants to show themselves in a positive light, don’t let it appear that his light side, but there is in each of the areas of shadows that are hard to recognize, which are also for me a singular beauty. “

La montagne sacrée de Pep Ramis

Photo: Jordi Bover

It is this ambivalent character of man that he seeks to evoke through the contrasts between the black and the white led on stage. Work on the light and colours inspired by the paintings of Caravaggio, where are the body aged. These paintings provoke in him, paradoxically, a certain tranquillity, as well as moments of contemplation supported ; the effects that it seeks to translate on stage.


The Mountain, the Truth and the Paradise is conceived as the journey of a character in constant transformation through frameworks that interpenetrate. A kind of initiatory quest evoked immediately by the image of the mountain, a place that allows you to retreat from the world and which symbolizes the spiritual elevation : “from three icons — the mountains, the truth and the paradise — I wanted to address how we can live the spirituality today. To tell the truth, I think that we have lost this ability to seek truths and different perceptions of the world through spirituality. For me, it has nothing to do with religion ; spirituality is more essential and basic. “

This idea of opening to new perceptions and grasp of the truths underlying is instilled in the words of Erri De Luca, whose Pep Ramis uses fragments of text on stage. In the Italian poet, the capacity to wonder in the face of the basic things and daily life is central. A sense of wonder constantly at our disposal, because it can happen through the simple observation of objects in the world modest. An emotion fugitive who, in order to be perceived and experienced, required a slowdown, a predisposition to contemplation and re-evaluation of what makes up our everyday environment.

Excerpt from “Value”, Erri De Luca, in “Work on water”

“I value any form of life, the snow, the strawberry, the fly. I attach the value to the animal kingdom and the republic of the stars. I value the wine as long as the meal, the smile is involuntary, to the fatigue of the one who is not saved, the old ones that are like. I attach value to this, which tomorrow will be worth nothing and which today is still worth little. I attach the value to all the injuries. I attach value to saving water, repairing a pair of shoes, to be quiet time, to rush to a scream, to ask for permission before sitting down, to feel gratitude without remembering what. I attach value to know where to find the north in a room, what is the name of the wind drying the washing. I attach value to the voyage of the vagabond, at the close of the nun, the patience of the convicted person regardless of his fault. I attach value to the use of the verb “to love” and the hypothesis that there is a creator. Many of these values, I have not known. ”

The Mountain, the Truth and the Paradise

And with Pep Ramis (Mal Pelo). Presented by Agora de la danse, to the Building Wilder — Espace danse, from 21 to 24 November.

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