1992 PANEM ET CIRCENSES, for the best stage theatre, participatory, imaginative and provocative.
1992 ARTURO BRACHETTI, for his highly-skilled magic and transformation technique, comparable to the great masters of all times.
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1992 MOSCOW CIRCUS,
for taking the genre of circus and adding to it art, difficulty and
dexterity in whatever is “most difficult”, to create a new poetics of
the circus.
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1993 LOS SNACS, for their ingenuity in combining music, comedy and performance to create a theatrical cocktail that is fresh and direct, connecting intelligently with the audience, and making them smile.
1994 MOMIX, the show Passion, for its intelligent combination of art and physical dexterity, with hints of Miró.
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1996 ENNIO MARCHETTO, for the innovative nature of his impersonations and his original paper costumes.
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1997 COMPANYIA PHILIPPE GENTY,
for the show Voyageur immobil, in which for an hour and a half they
masterfully combined mime, pantomime, dance, puppets and theatrical
effects, recreating certain spaces – the sea and the desert – and
creating other imaginary ones. The result was a theatrical poem with
great emotional impact, one of the best seen in the city in recent
years.
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1998 LEO BASSI,
for his show Instintos Ocultos. This show, performed at the Teatre de
l’Eixample, flowed out of the theatre and into the street, while Bassi,
overflowing with genres, became a clown, a juggler, a magician, a
cabaret comedian, a mime, a medium in a show that was simply
overflowing.
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1999 QUE-CIR-QUE,
and we were moved by the precise body that played with a mop and which
reflected the feelings of all the paradoxes in a world that was much
more aggressive, wrapping it up and distancing it from its own desires.
What a delight of smooth perfection.
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2000 LE PETIT BAZAR ÉROTIK, A PRODUCTION BY TOF THÉÂTRE WITH LA BALESTRA, THÉÂTRE MANARF, LE THÉATRE DE CUISINE, LES PETITS MIRACLES, VÉLO THÉÂTRE, GREEN GINGER AND PICKLED IMAGE, LAIKA AND TURAK THÉÂTRE. The closing piece in the 15th Festival of Visual Theatre and Puppetry of Barcelona featured this multiple offering based around eroticism, which played with different spaces, food, drink, sensual sofas, a bed with a bedcover made of nipples, head massages, puppets, sand and so on. All the numbers were remarkable for their exquisite manipulation of objects and their tiny sets. Or others for their extravagance, and all of them, without exception, for the great sense of humour with which they told their stories. A bazaar of plenty and of provocation.
2001 ROJO TANGO, DE CECILIA ROSSETO.
Come as often as you can. Stay. Speak or sing, so that your country and
the world you know will enter our hearts. It seems so much like
Argentina! From its anger to its humour. From its calm to its passion.
How well you tell us what you tell us.
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2003 ENRIQUE VARGAS AND EL TEATRO DE LOS SENTIDOS,
coming from Colombia with a new theatrical language that comes alive in
the pieces El laberinto de Ariadna and La memoria del vino, awakening
individual emotions. With the Applause award we take this opportunity
to celebrate the fact that Barcelona welcomes them at El Polvorí, where
they will create a centre for investigation and documentation of the
poetics of the senses.
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2006 NADA EN LOS BOLSILLOS by Romanian Circus Tsigane,
Alexandre Romanès's circus returned to Barcelona in 2006. Located
between MACBA and the CCCB, close to FAD, it demonstrated the
unchanging values of circus when performed with care and dedication,
whether on the tight-rope, the trapeze or juggling.
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2010 KO MUROBUSHI,
For Western viewers, the Japanese Butoh dance can be placed halfway
between two slightly different traditions: has the re-concentration of
German Expressionism and shows the open sore of the flamenco’s
seguiriya. Gasch felt far from the most land side of German
Expressionism, but greatly appreciated the strength of a flamenco
gesture made of deeply felt scores of meat in real contact with the
artist’s “me” and with life. It is for this reason that this year we
believe that, for the full leadership of a body which grows in the
littleness of his humility and for the sobriety of the setting, Ko
Murobushi is the master butoh of international acclaim Dead 1 and Quick
silver, two proposals scheduled at the Barcelona Grec Festival 2010.
2011 CAMILLE BOITEL,
At l’Immediat, Camille Boitel uses a mountain of garbage to show us a
fragile and chaotic world. Like in a silent movie, the characters
reveal a society in ruins and uncertain balance. We reward the
ingenuity to create a world that defies gravity making use of the
language of circus, dance, music and theater. Boitel manages to
transform a pile of junk into a work of great visual beauty.