Contemporary dance / physical theatre / video research laboratory.
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Shakti en Ascensión o Rainbow Revisited / Foto: Renato Donzelli
Shakti en Ascensión o Rainbow Revisited / Foto: Renato Donzelli
Shakti en Ascensión o Rainbow Revisited / Foto: Goar sanchez Shakti en Ascensión o Rainbow Revisited / Foto: Goar sanchez
Shakti en Ascensión o Rainbow Revisited

Apres Petipa / Foto: audiovisual hagalaz Apres Petipa / Foto: audiovisual hagalaz
Apres Petipa / Foto: Renato Donzelli
Apres Petipa

1.  Over the RAINBOW

Choreography: Julie Barnsley.

“The piece, performed by Julie Barnsley, shows us a vaudeville star wedged into a structure. The slow and tense movement of the structure over her body, transforms the throne into an instrument of torture; her singing is very dramatic and forceful, a force suppressed by the rigid structure; the star undergoes a change, becoming deformed until left a cripple. The spectacle is moving and tragicomic … a single idea worked with great care, authenticity, clarity and rendered impeccably.”
Nela Ochoa. El diario, Caracas.

“Julie Barnsley, communicator: to see Julie Barnsley on stage and then forget her is impossible. This artist’s ability to make an impression, the power to communicate and the extraordinary expressiveness already represents an outstanding feature of the work that has been done in the new dance … An exceptional performer … her passion for the stage has no limit, her devotion is total and the viewer comes away with a great memory of this.”
Carlos paolillo. Revista Imagen, Caracas.

 “improbable romantic duo grapple over the rainbow … its power  is undeniable.”
Jennifer Dunning. New York Times.

“A lovers’ quarrel, a couple breaking up, a failure to communicate? Who knows? It hardly matters. What’s certain is that at an undefined time and place one body finally frees itself of the domination of another, from the humiliations and vengeful acts, in a sarcastic climax: a castration in which the woman’s head, stuck between the man’s legs, appears to devour his genitals in an act of extirpation. Then it’s calm. But not really. It has only been the end of an experience in which the dance and the theater have given their all to us. … Modernism and postmodernism cease to be polemical terms as they turn into something simple, straightforward and transparent. Eclecticism has no place here; it is an authentic commitment to an undertaking, such as the matter of living and dying, if need be, before an audience or no.”
Ramiro Guerra. Las Tablas. La Habana. Cuba.


Choreography: Julie Barnsley

“This work questions traditional dance forms; it deconstructs them in order to rewrite them in a physical language that refers more to the allegorical and contingent than to the symbolic and visionary, opening a space charged with hallucinatory energy in which the image becomes a living, material, sensory thing, affecting our senses and emotions in a more direct way, and, definitely, our lives.”
Lyda Zacklin. Revista Venezuela.

“The darkly dramatic Rope and Cuts were at once transparent and impenetrable”
Jennifer Dunning. NewYork Times

“Nothing in this work is apparent, things are slowly revealed, in spite of the violence of the movement…. Julie virtually strips the man down, plays with his sense of male modesty, with his sexual fears, but with his narcissism and sexism as well…It is the rawness of a choreographic material that has not been polished, perhaps intentionally, like sketches of a male world that its author does not try to resolve, in order to preserve its freshness.”
Nela Ochoa. El diario. Caracas.

“Six men developing in an environment of violence. Their behavior is a response to sexual and social conditioning.”
Carlos paollilo. Revista Imagen. Caracas.


Choreography: Julie Barnsley.

“It’s a piece with a notorious identity, the superficial and hypocritical culture of amusement that turns into a carnal calamity. It’s theater that uses dance to reveal, by way of visceral and rough movements, the superficiality, indifference and corruption of certain societies, of certain kinds of behavior; and I suppose it is a profoundly cathartic experience for every actor-dancer…A work of profound psychological penetration  and unusual aesthetic.”
Teresa Alvarenga. El Nacional, Caracas.

“Moonlight and Roses, delves into worlds of physical and psychological violence, but can be essentially taken as an act of purification, of purging…In a satiric and sarcastic manner the dancers first expose their superficiality, then their instability… individuals without rumbo, their personal misery is exposed through a devastating and painful dance which exhausts their bodies and reveals their spirit…
Human relations are stripped to the core, to their instinctive essence. To the imperative need.. An exorcism,  perhaps…. “
Carlos Paolillo, El Universal. Caracas.


Script and direction :Director Armando Holzer.
Asesor of dance work : Julie Barnsley.

“Urinarios, Rosas is a production of exceptional harshness and crudeness; nevertheless, this painful reality cannot be reflected in any other way :a reality  that devours the  human being and expulses him as excrement, a degenerate society (zoociety) that treats the individual like an object, that manipulates and stereotypes him.” ….Hamlet, in this version, simulates the spirit physiologically, the AIDS victim, the street punk, the schizophrenic, the drug addict, the revolutionary, the terrorist, the romantic, the porno star …
Bodies naked on the stage, words that sound terrible in their vulgarity; these are only vehicles of a reality that suffocates and destroys. … The work; explodes like a common cry telling us that humanity is dying, that indifference is not a human feeling, that we can’t become accustomed to massacres, to death in life, to everyday genocides…At the same time it hurls a terrible “I accuse” at the spectators, for being mute witnesses, and hence accomplices to the fact that life has lost the sense of “ love” … Acción Colectiva’s is a distressing view of life, man at his most terrifying,  revealing the madness and death, the schizophrenia and the paranoia … this concept of “physical” dance, highly charged emotionally and highly expressive in dramatic terms, is the ideal vehicle to produce the effects that they want to achieve.”
Miguel Martinez. A. M. LEON. Mexico.

 “Julie Barnsley challenges constantly the dance. The dancer of overwhelming expressivity approaches the dance with great vehemence…With total conviction…
Inside Accion Colectiva, her fundamental creative platform, Barnsley has not only maintained a coherent vital stance in the dance, but has developed profoundly the idea of movement as a vehicle of true authentic expression of the human condition. She has insisted so much that on occasion has taken very extreme stances…
Julie Barnsley and Acción Colectiva wholeheartedly enters the field of so-called physical theater, a term that seeks to fuse the dance and theater into something else, different and, in the end, autonomous.”                      
Carlos Paolillo. El Universal.Caracas, Venezuela.


Scrpit. Director. Armando Holzer.
Interpreter and dance work: Julie Barnsley.

“Denouncing alienation…
Video and Body. Body and Video in a frenetic confrontation intensely denouncing the "massmedia" culture. Dance and technology at the service of a totally commited event......DELICADA DECAPITACION takes the breath away of the spectator, provokes innumerable reactions and doesn´t leave the viewer comfortable in his seat. The theatre and the dance interweave to present psychophysical actions and reactions which reveal all the existential misery of man and his cosmos…
..Each movement, each gesture and step contains a special strength and calculated intention which is devastating...... Decadence, anxiety and loss of self are materialized by Accion Colectiva, this staging is only possible thanks to the refined technique, and a precise investigation of the Individual  body /mind and its relation to the society…  
.........Julie Barnsley, one sole performer, possessed by the characters… Barnsley’s performance is brilliant in its physical precision- corporal poetry.”
Juan manuel Garcia. A. M. Mexico.

“A kind of linguistic-contemplative-heartrending mosaic, in which the aesthetic and conceptual search is linked to the emotions. … The spectator is subjected to ruthless and contrasting scenes: from the strictly classical to the sarcastically kitsch – dancing to the frenetic rhythm of house – this in order to provoke bitter reflections about the Modern Age and the repercussions this has on the senses… A profound and poetic reflexion on Contemporary society..The despair, the pathos, the beauty and the degradation.... A theatrical game which eliminates the sense of a  simple concert, a movie, a poetry recital or a play.  All this in one event.”
Diego Casanovas. EL UNIVERSAL. (BRUJULA), Venezuela.

“Extremely successful event, original, vanguardia.
Revealing the tendency for auto destruction of contemporary man, his ambitions how he creates internal prisons which remove him from his natural origins and impulses, causing his own DECAPITATION…
..language charged with strength, tenacity  and vitality.”
Gonzalez / Zamora. EL CORREO, Mexico.

“Visceral and provocative. The creative vision of Barnsley reminds us of the fragility of our condition, in spite of the technological advances and arrogant stances.”
Jose Antonio Blasco. EL UNIVERSAL, Venezuela.

“Extraordinary work of Julie Barnsley, of Accion Colectiva in Delicada Decapitacion.....Extraordinary visual and physical Event. Fabulous Show... Delicada Decapitación”
Porfirio Espinoza. EL HERALDO, Mexico.

Choreography: Julie Barnsley.

“Municipal dance award …
Violent, uncomfortable, possesor of an esencial beauty, the dance aesthetic of Julie Barnsley (which perturbed the national dance scene in the 80s) is back with La Rosa Mutilada (The Mutilated Rose), revealing a new maturity and reflexive capacity, based on explosive emotion and the power of the body…the individual as a complex being losing himself in the inmensity of his emotions.”
Jose Antonio Blasco. El Mundo, Caracas

“ Theatre of the Feminine
In LA ROSA MUTILADA, amidst the elaborate, fragmented, energetic and aesthetic discourse in which we are submerged, encountering multiple visual and musical references,….in the middle of this , perverting all formalities Julie Barnsley opens a path to an exuberant sense of humour  which draws the attention of the viewer, provoking us to get involved, participate and also make fun of the references and also of ourselves in front of the ironic image of this solo interpreter…
…..we are given an ironic look into the paradigms of the actual culture in relation to the feminine, making fun of things up until the point of more tragic consequences.”
Diego Casasnovas.: ESCENA magazine. Caracas.

“Feminine  Manifesto.
LA ROSA MUTILADA, from a language point of view insists on the merging of physical codes with theatrical codes, all encompassed inside the tradition of Barnsley to investigate the most intimate territories of human emotions until provoking a physical explosion. In this work the violence is more psychological than physical and the conflict more internal than on the surface…
…….. a manifesto around  the alienation of the individual…
….the videos are not appendages but a fundamental aspect of this work”
Carlos Paolillo.EL Nacional, Caracas.


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