Compagnie Daniel Fernändez (2014) is a multidisciplinary artistic team that collaborates to create a singular scenic language. Each creation is the product of research for a unique language, and this process is unique to each project, thus making it impossible to define an exact style of the Company. Daniel Fernández provides artistic direction.
Born in Barcelona in 1980, Daniel Fernández trained at the Ballet School Eulàlia Blasi, as well as at the Nancy Tuñón School of Theater (Barcelona). He graduated in Choreography at the Institut del Teatre of Barcelona while working as assistance to Chaterine Allard, artistic director of IT Dansa Company. He further enhanced his skills at Movement Research in New York.
In his native Spain, Daniel’s first three creations attracted attention quickly by different festivals. Presented in abrigged formats were: Comment dire (2003), at the Círcol Maldà Theater, Graus International Dance Festival (Huesca) and the Museum of Contemporary Art (MACBA) of Barcelona. Barro (2014) a work that had been commissioned by La Pedrera, as part of the Festival Joves Ara (Barcelona) and; Nijinsky (2015) selected by the Culture Department of the city of Barcelona for the Dance Festival Sismògraf (Olot, Girona). Daniel Fernández soon obtains several residencies in Barcelona for the creation of his first full-length work An Angel at My Table (2016), (inspired by the movie of the same name).
In 2017, Daniel Fernández moved to Lyon, France to expand his artistic practice and began working on a new creation, Première communion de jeunes filles chlorotiques par un temps de neige. Its first showing was an extract titled “The Milk”. It was presented in December 2018 at Mercat de les Flors (Institut del Teatre Awards) Barcelona, and then in January 2019, embraced by Abou Lagraa (La Baraka Company) at Chapelle Saint-Marie in Annonay, and in March 2019 at Le Croiseur for the Impulsion Festival (Lyon) and Centre Chorégraphique National Rillieux-la Pape. This work has been graciously been supported by the Centre National de la Danse (France) for one year of experimental residence creation.
I am interested in research of body and movement to create a language for each choreographic proposal. Discover the infinity of movement to express different concepts that concerns me, or I simply want to play with creatively. In that way I can guide the concept with body language.
"The imaginary" placed him in different layers of meaning that could produce a piece, creating universes of image where the viewer can take part in an active way. The viewer is what the coach wants to see, and at the same time the viewer's eye of meaning leaks by overlapping languages.
Therefore, I want to create different landscapes with different "ingredient's" that have previously been investigated.
Landscapes can be formed by the dance, the theater action by the sound space, and different performing arts resources creating a multidisciplinary scene: so then, landscape is my focus and interest to create reality and unreality, normality and abnormality.
I'm interested in the scene, and the body on stage. That is the main reason for my research. As a creator I truly believe that the body can be transformed into any kind of shape on stage. The body on stage belongs to multiple ideas. The body can be moulded at the express of any concept. I could ask, how can we generate new discourses from the same body? I can write an endless number of unanswered questions. I think dance is an eternal labyrinth for research. I could spend hours just working on how the right elbow meets with his left knee. I like the details. The breath, and every discovery of poetry that I see in my pieces become the perfect dose to know that, what I'm looking for, is the only thing I'm seeking: beauty.