The company’s new art project explores the literary genre of sagas and offers an analogous scenic format. It does an exhaustive and contemporary work about circus drama, positioning it as one of the main research centers, playing with different scenical lenguages and exploring its narrative capacity. Després de tot (“After all”) is a tragicomedy that imagines a future from which we can look and read our present.

Imagine that the characters in the play are the artists of PSIRC Company, who live with their family and community in a swamp. The stage, which is the same one in every room, is designed in the outside of any civilization; an endangered landscape that Google would probably place in the end of the world, where life is redesigned every day.

The swamp is the metaphor of an exotic and borderline territory. A threshold between what is past and what will come, a territory where there are stories of human relationships. Després de tot talks about everyday life of marginality.

The saga consists of six shows in different formats, live performed. All the stories, wich constitute the final arc of the drama, consists of four episodes and ends with the play entitled Després de tot, la pel·lícula (“After all, the movie”).

EPISODES are independent pieces of about 50 minutes, in no chronological order. They are created as a spin-off of the play titled Després de tot, la pel·lícula. Each episode enters into a character to explore its tragic and mythological dimension. They focused on each of the main protagonists of the saga, trying to find out who these people are, what their past is, where they seem to live, what they do, what worries them, what their future will be…

AFTER ALL, THE MOVIE is not a movie. It is a live show in large format. It is the center of the saga, which connects every story of Després de tot. It lasts approx. 90 minutes and requieres the participation of extra people from outside the company to explain the creation of the community and its evolution.

The TRAILER is the shortest version of all (35 minuts). It is a street show, introducing the characters and showing the big circus acts related to each of them.

What would you do if you were the last human being in the Earth?

From when Zeys became vegan, the nightmare of death and the wild flies

Zeus stole a white stork egg to make a quinoea omelette. The community of European activist established in the wetlands have condemned the act of vandalism as an attack on nature.

Benet, alias Zeus, an expert in ax handling and known in the intellectual world for his famous summer street cinema called Cinemas Zeus, is a circus creator of experimental cinema tormented by guilt and fear to loss. Zeus needs the community to forgive him at all costs for stealing the stork eggs and, as a infallible bait, has invited them to watch an special session of the only original copy that exists in the world of the film Mary Poppins. He will taked the opportunity to show them the latest author film and prove to the audience that he is still a great ax thrower with the world premiere of his number of wild flies.

From when Alexa, her Humana clothes and the ventriloquism show

Wanja started talking at the age of 12. No one ever doubted his intelligence and there was always the hope that one day he could achieve it. But no one could ever imagine he would do it through his favourite puppet: an African baby called Teté.

From a very young age, we all knew that Wanja secretly collected archive footage of the best ventriloquists of the world, but, however, he never was a good one. Actually, he was lousy. At least, over time, he learned to speak like a poet. His parents and his brother Prometeus know that he wants to be she, live the existence with a womenly soul and travel to Silicon Valley to succeed with his ventriloquism show of Teté and the stork. Wanja has a deep desire of alienation, for renouncing himself and to give himself fully to an exotic and divine whole led by the oldest technological entity on the planet: Alexa.

From when Artemisa and the leviathan of the swamp

Anna, alias Artemisa, well-known actress of the 90’s, is the playwright and director in the incendiary and contemporary circus show: The last show, a fish called Caronte. The most anticipated show of the summer for all drunk, European and Chinese turist who live staked in the leisure time and wetlands of the area. Anna and her partner Benet, the creator of Cinemes Zeus, after participating in most of the social protest of the 21st century, and tired of the triumph of civilization, decided to raise their two boys among all kind of insects, snakes and parasites. They have always preferred to have their children killed by a skunk rather than continue to sustain any kind of loss of the contact with reality.
Artemisa has long since stopped hunting. Since she is a mother, she urgently needs to regain her goddess strenght.

Now that their children Wanja and Adrià are young, Anna is thinking of leaving the community and the permaculture orchards. She doesn’t know if tonight, in front of the firm gaze of the public, she will have the strength to fight the Leviathan that crosses his soul and lives watching her under the murky waters of the swamp.

From when Prometeu, the bitcoins and the hammer of death

Divine Fire, a substance for therapeutic purposes made with psychotropic and medicinal plants, the best kept secret by Benet, alias Zeus, has been stolen from the laboratory of the community by his own son Adrià, alias Prometeus.

The susbtance is a psychoactive thats allows you to be a better person without any side effects and almost instantly, allows you to express yourself as just out of a Waldorf School. Adrià calls himself Prometeus, The Dancer. Just looking into your eyes he knows if you are investing in bitcoins or not. Thanks to this stupid, Divine Fire is a hit in Silicon Valley. His bright, witty, civilizing mind, which makes humanity’s progress possible, has invented “The hammer of death”, a high-risk circus artifact capable of ruffling a porcupine’s hair.

After all, the movie

Després de tot (“After all”) is the story of a community thats tries to survive in the outside of any civilization, a landscape that Google probably would place in the end of the world. Led by a familiy of artists, they decided to cellebrete the sense that gave us the hope to live each day.

Surrounded by wild vegetation and untouched technology that seems to be sustained by a soul that pretends to be the life, the community will try to resist the end of its age by doing circus shows, setting up street cinemas, intellectual meetings and healing rituals. Faced with a life that doesn’t need from human existence to be, little by little they will uncover everything that, like an infinite wound, constitute us as humanity.

Why, after all, do we insist on existing everywhere?

After all, the trailer

A wild technology grows unchecked among the reeds and biodiversity of a swamp where a family of circus performers have long lived. The landscape is dominated by Alexa, an artificial intelligence that tests the behaviour of humans. How will they react when they see that the storks will no longer live in their nests? The company Psirc, with a playful and cinematographic tone, proposes, with humour and for all audiences, how to think about the new paradigms of existence.

SPECIAL AWARD ZIRKOLICA 2023:
After all, the company Psirc, has deserved the special Kirkolika award for “daring to venture into swampy paths, using a cocktail of scenic languages, served by a risky dramaturgy”, and “for questioning the future of humanity and of the circus itself”.

Show recommended by Red escena

Nominated show PREMIOS TALIA 2024 de “La Academia de las Artes Escénicas de España” per a millor espectacle de circ

Artistic information

· In the stage: Benet Jofre, Wanja Kahlert, Adrià Montaña and Anna Pascual
· Drama: Benet Jofre, Wanja Kahlert, Adrià Montaña, Anna Pascual and Rolando San Martín
· Drirection: Rolando San Martín
· Installation/Creation of sound and lights: PSIRC
· Photography: Francis Rodor and Julián Waisbord
· Technical production: Benet Jofre and Wanja Kahlert
· Production: Berta Pascual, Anna Pascual and Adrià Montaña

Artistic information

· Performers: Wanja Kahlert and Adrià Montaña
· Original idea: Wanja Kahlert and Adrià Montaña
· Drama and creation: Wanja Kahlert, Adrià Montaña and Rolando San Martín
· Direction: Rolando San Martín
· Puppets: Wanja Kahlert
· Sound design: Wanja Kahlert, Adrià Montaña and Rolando San Martín
· Sound set: Wanja Kahlert
· Lighting: Carlos Ferrer, Wanja Kahlert, Adrià Montaña and Rolando San Martín
· Scenography: Wanja Kahlert and Adrià Montaña
· Sound and light technique: Guillem Gelabert
· Distribution: Amèlia Bautista
· Co-production: Mercat de les Flors

The show

My name is Hor is a large piece of 1 hour and 10 minutes artistically based in the poetics of the image that is articulated through circus and puppets techniques. The relevance of the scenographic and spatial treatment lies in the constant use of the lighting controlled at the moment by artists. The puppets co-star in the show. They are the metaphor of a lost alost identity or that is yet to come, but they are also the alter ego of our two characters.

In the show we see both circus artists Wanja Kahlert and Adrià Montaña, who appear on stage to perform the great feat of a contemporary circus show. In a classic sense, they are drivers, acrobats, the tall and the small, the carrier and the agile, the clowns, the performers… In summery, the people, the human, the artists who star everything in the satge.

Through the body, risky acrobatics, unfinished puppets, objects, surrealism and a hunting play of lights and shadow directed with a luminophone, two circus artists tell a story based in real events: a journey to an unknown cave full of humor and beautiful and sinister images that directly strike in the unconscious of the audience. Immersed in darkness, silence and a disturbing feeling of delirium, the cave becomes a temple, a theater, a garage, a screen, a mirror within a mirror. A place where protagonists blur their own boundaries to release themselves generously to the public, in a new simulation of their existence.

Synopsis

My name is Hor is a story based in real events and starring by two circus artists, Wanja (tall and strong) and Adrià (small and agile). During the process of creation the show, tired of reading philosophical and postmodern reflections on today’s society, they decided to take a walk in nature, to an area where Wanja had grown up and he knew perfectly. But the most unexpected and surprising thing about this walk was that they found a huge cave that Wanja didn’t know. Inside there happened things that can’t be explained with words. Perhaps they faced the bowels of their own shadows?

The darkness, the loss of spational an time sense, the absolute silence and the feeling of delirium make their experience in the cave a temple, a theater, a garage, a screen, a mirror within a mirror. A place where the protagonists blur their own boundaries to release themselves generously to the public, in a new simulation of their existence

“L’ombra deu el seu naixement a la llum”
John Gay

Author’s notes

My name is Hor, through he spectacular gaze of circus and humor, it shows an arqueology of human relations and manifests itself on stage as an inventory of gestures and actions full of beauty that were abandoned in the time. The scenical space, the theater or the tent, can be the cave of our ancestors or the disorder of a museum,emotions framed and trapped in their abstraction, far from the feeling of their real bodies. But, at the same time, it can be a refuge, a garage where to rehearse life with some everyday things such as electrical cables, plugs, chairs, unfinished puppets, lights that illuminates walls and objects of an old-fashioned interior, remnains of an identity diluted by tiredness. Awareness in Hor multiplies, fragments, is everywhere, dismembered like a god in disuse and, to recover the pieces of this god, the show revolves around the mystery of who or what Hor is.

PSIRC is a trio formed by Anna Pascual, Wanja Kahlert and Adrià Montaña. Since 2011, and with a strong base in circus and manipulation techniques, they explore new intimate and creative acrobatic lenguages. The result came in 2013 with the premiere of Acrometria, their first show. A piece full of energy, excitement and good circus.

Acrometria is the story of a disturbing encounter. In the scene, the heart is expressed between the acrobatics and poetry. Emotional, metaphorical and abstract. In a few minutes, the trio transports us to their spectacular, funny, light and deep universe.

The piece studies the distance between the psyche and infinite realities. A triangle to which pensive diagonals, silent dots, mysterious perpendiculars and infinite circles arrives, and where you can play by creating new human geometries. It is the embrace between basic risk and the ingenuity of the soul. It is geometry of emotions.

Awards

· 2012 Zirkolika Award to the Best Emergent Company
· 2013 FAD Sebastián Gasch. “Applause” Award to the Emergent Creation
· 2015 Recommended Show in RED
· 2017 Circus Award in Freiburger Leiter
· 2017 FETEN Award. Best Show of the Night