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Portrait Ramón OllerRamón Oller started his career as an actor at the age of seven in Esparraguera, later studying interpretation at the Dramatic Arts Department of the Institut del Teatre in Barcelona. He studied classical and contemporary dance with Laura Tápies, Joan Tena, Ramon Solé, Martina Col and Dafna Rathause, and for four years in the dance space La Fábrica in Barcelona. Out of Spain he studied at The Place in London, as well as in the main contemporary dance schools in Paris, and with Ivoner Cortier at the School of the Òpera de Paris. His first choreography Dos dies i mig received the second prize Tórtola Valencia 84 awarded by the Diputació de Barcelona and the Generalitat de Catalunya. In 1985, he formed the Company Metros. In 1987, he received the Prize of the Spanish Stage Directors Association for his choreographic work in Estem Divinament. In 1994, he received the National Prize of Dance (Ministry of Culture) and the National Prize of Catalonia for choreographic work (Generalitat de Catalunya - Diputació de Barcelona).

Diwano. Ramón Oller 1995


Scene Diwano
  • Choreography: Ramón Oller
  • Music: Óscar Roig and Collage
  • Settings: Joan Jorbá
  • Costumes: Mercè Paloma
  • Light Design: Gloria Montesinos
  • Premiered by Compañía Nacional de Danza at Teatro de Madrid, April 1st, 1995

Tell me, girl, why you cannot ride a horse with us. Tell me why you cannot choose, either a White Darkness horse, or a black one. Everything is written by the laws of nature. If you want to run with us, make your mind up!

Among all living creatures, animal or human, of any species or category, the different being usually creates a reaction of repulsion. This is because of the species’ instinct for self-preservation. Nevertheless, civilization, culture and development in the human being have helped us to understand that, in order to survive, we have to respect, tolerate and constantly adapt our values to those of our environment. Lack of respect leads hopelessly to destruction.

Diwano is an original work for Compañía Nacional de Danza by the Catalan choreographer Ramón Oller. In these times of crisis of values, insecurity rules our lives once again, and therefore doubts which are older than the world itself appear again together with that old instinctive rejection of whatever is different. This is precisely what Ramón Oller has tried to emphasize with his Diwano, a work which transports us to a tribal life within a world of strict laws; a world used by Oller to demand respect and understanding, both for the individual and for the community.

Pral. 1ª. Ramón Oller 1990


Escena de Pral.1ª
  • Choreography: Ramón Oller
  • Music: Oscar Roig (recordings from Lucho Gatica, Nati Mistral and Jose Nieto)
  • Costumes: Merce Paloma
  • Light Design: Gloria Montesinos 
  • Premiered by the NDT 2 at the At&T Danstheater of The Hague, on February 15th, 1990.
  • Premiered by the Compañía Nacional de Danza at the Jardines de Generalife of Granada, on June 24th 1993.

...where she lives and dreams, where each morning puts on its costume to take on its daily battle. Only in its cover does it transform itself into what it really thinks it is. Until one day it realizes that everyone else does the same thing and is afraid to see human beings in their nudity.

In this drama for a man and a woman, Ramon Oller wanted to take us to a world which many of us, fortunatly, only know by reference. It is a world full of frustrations, in which forbiden passions and inconfesable desires are our daily bread. Social represion makes us to abandonourselves to our dreams, which allows us to flee from the prototypes into which society wants to make us.

To give form and content to this story, situtated in the fifties, one looks back to when the escapist tendencies dominated social and cultural behaviour, of the last century, through ballet and music halls. The plot can seem as ridiculous as the majority of the librettos of the romantic ballets or the classics of that time, in which, by one means or another, the idea was to take the audience and the performers to the world of dreams.

The form proceeds from the exciting world of the music hall, which imposed partner dancing, a style that extended itself like an oil stain to the whole western world. And even though it may seem that this type of dance that Oller offers is not very orthodox, it is impotant to note that it is nothing more than a new representation of the primitive pair dances which have given an infinte variety of unforgettable movements, as well as having been the cause of endless misfortunes.

The duo is an act of precision, intimacy and courage more than any other choreographic creation. There is no escape possible for the scared creator, that only has two people on a stage to be able to create with. Therefore, before beginning, he must be very clear as to the for whom and why of his work.

A pas de deux is nothing more that a love triangle, in which the creator is left being the watcher of the game that he invented. And in this game intervene all of his fears, secrets and lies. Pral. 1ª is a story of halls, passage ways and patios, that ironizes on the necessity to live inseparably with our own reality. We are in the Spain of the fifties: New Year’s Eve, Christmas carols, dried milk, Cola-Cao, potato omelettes, Anis del Mono liquor, tambors, high roast coffees, cognac and ... Franco

I wanted to creaet going from the memories of our fathers: inventing what we have not lived and what they did not live back then. But, above all, so that we do not stop thinking about our lives and what our role in this life is.

  • Ramón Oller


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  • Auditions. Jardín Infinito. Nacho Duato

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