La Fura Dels Baus

La Fura Dels Baus [Special]

La Fura dels Baus is a Catalan theatrical group founded in 1979 in Barcelona known for their urban theatre, use of unusual settings and blurring of the boundaries separating audience and actor.

La Fura dels Baus is a company in a permanent process of transformation that, since it was founded in 1979, has approached new challenges in the field of the performing arts. Its occasional shows and events have had an enormous impact on both international critics and audiences. It would be no exaggeration to say that since Actions (1983) La Fura dels Baus can be considered as a cult group for its thousands of followers all over the world. La Fura has developed its own language, style and aesthetics over the years based on collective creation.

Over 2.500 performances in 4 continents have been already followed by an audience of over 3 million people. La Fura dels Baus is considered as a cult group for thousands of followers.

Since the 1990s the company has worked in the fields of written drama, digital theatre, opera, major events (macroshows) and films. It still continues relentlessly evolving, experimenting and searching for new ground.

These shows are based on the characteristics that have traditionally defined the work of La Fura dels Baus right from the start: use of unconventional venues, music, movement, application of natural and industrial materials, including new technologies and the active participation of the audience in the show. This approach to theatre has meant that the company has also managed to attract audiences that are not usually theatre-goers.

Music is constantly used in all the company’s work, to such an extent that on occasions it has provided the framework for the show itself. Each new stage production by La Fura dels Baus generates a parallel musical project that eventually takes the form of a record being produced. The same inquiring and insistently dynamic spirit that infuses the company’s stage work is applied to its musical concepts. The music of La Fura dels Baus is a mixture, not only of styles, but also of intentions, references and attitudes opposing the concept of sound

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[Music for performances]

La fura dels baus - XXX (Subterfuge records, 2002.)
This project began as the soundtrack for the stage production and then took on a life of its own, the fruit of collaborations between various artist who came together as the “Gang Bang music Project”. Fourteen groups from the Subterfuge label added their own style and viewpoint to different scenes, various sexual fantasies that they were assigned randomly.
Robert Merdzo composed two pieces in his purest Balkan electronic style, Dana Leese Routh wrote and sang the lyrics of “Lesbian Paradise”, Xavi Cid, the tour technical director of the show, played the Leslie organ on “Teletienda” and “Visite nuestro bar”, Natalie Martinatti wrote the lyrics of “Chanson coquine”.
The production design is by Miki Espuma and Big Toxic, together with Nikky Schiller, who coordinated the record company and artists. Big Toxic composed nine
of the tracks and arranged another four from different groups, including Fangora’s delirious “Hombres”, which closes the stage show. The nine tracks composed by Miki Espuma are reminiscent of Philadelphia sound or chanson française, and include an ironic look at classical frameworks in “Escatología” and “Mística”, or recreations of soundscapes as in earlier works.
Special thanks to Carlos Galán and Gemma and Iranzu from Subterfuge, and Martina Gatell and Álvaro López, who made this work possible from the beginning.
Big Toxic and Miki Espuma recorded, produced and edited XXX at the Toxic Audiodrome studios in Madrid, in August 2002.

1 Faults (Sexy sadie)
2 Hombres (Fangoria, Big Toxic)
3 Prendas (Carlo Coupé)
4 Lesbian Paradies (Danna leese Routh, Toxic, espuma)
5 Afeitado de coño (Big Toxic)
6 Container (Robert Merdzo)
7 Monotonía (Miki Espuma)
8 Hermanos en videoconferencia (Big Toxic)

La Fura Dels Baus - ØBS (2000)
From 1979 to 1983, La Fura dels Baus performed street theatre, these efforts evolved towards a concept of theatre that combines a wide range of stage resources based on the classical idea of an all-round show. The main contribution of La Fura was to approach its shows by encouraging the audience take an active part in areas traditionally reserved for the public and adapting its stage work to the very architectural elements found in the spaces in which each performance takes place. This blend of techniques and disciplines crystallized into the term “Furan language”, a term that has also been used to define the work of other theatre companies. Accions (1984) was the first show to use “Furan language” followed by Suz/O/Suz (1985), Tier Mon (1988), Noun (1990), MTM (1994), Manes (1996), ØBS (2000), Matria 1-Tetralogía Anfíbia-La Creación (2004) and OBIT (2004).

01 Introducción E Instrucciones
02 Guerra
03 1º TV Show (Peligro De Muerte)
04 Llamada
05 El Rey De Escena
06 Lady ØBS (Peep Home Sweet Show)
07 Video Conferencia
08 Butterflyes
09 Øbs (The Videogame)
10 Asesinato Y Funeral
11 El Banquete
12 2º TV Show (The Oracle)
13 Búsqueda Y Matanza
14 La Patética
15 La Muerte De Lady ØBS
16 Parto Y Ataque
17 El Bosque Final
18 Search (Busca Remix)
19 Barbarella (2º TV Show Remix)
20 My Sweet Bitter Love (1º TV Show Remix)

La Fura Dels Baus/Sergi Jordà - F@ust 3.0 FMOL (Fundación Autor, 1998)
The project Faust Music On line was an open invitation to participate through the Internet in the musical composition of a part of the sound track of the forthcoming show of the Spaniard drama group, La Fura dels Baus, entitled: Faust v3.0, based on Johann Wolfgang von Goethe's work.
This show by the Fura dels Baus had its first performance in Barcelona on 28 April 1998 and it was planned to do a tour through Spain, other European countries and NYC, giving some 200 performances, during 1998 and 1999.
All the music was composed by means of a W95 software. During the months prior to the first performance a web server stored and updated the database with the compositions received and permitted the audition and ongoing development of these compositions, as described below.
All communication with the server took place through this software. At the beginning of April, 1998, La Fura selected some (around 60) of the compositions for the play.

01 Txeic - Cercanías
02 Cristina Casanova - Vitaminas Orgón
03 Sergi Jordà - Agua Sobre Tierra
04 Pelayo F. Arrizabalaga & Toni Aguilar - Housetramm
05 Sergi Jordà - Catálogo De Colores En Blanco Y Negro
06 Txeic - Nonsense
07 Roloco - ...
08 Alex Martín - Dinamic Libs (Muy Mutado)
09 Cristina Casanova - KaffeXpress
10 Pelayo F. Arrizabalaga - Faustraum
11 Sergi Jordá - Tierra Bajo Tierra
12 Noise From The Kernel - Tunning The Controls For The Heart Of Madness
13 Alex Martín - Fmologia (Teoría Pura)
14 Diego Dall'Osto - De Humana Conditio
15 Alex Martín - Sergi Debugs The Core (Análisis Técnico)
16 Carlos Padrissa -
17 BigToxic - E-310

La Fura Dels Baus - Manes (La Fura, 1996)
A faithful recording of the soundtrack of the stage production Manes, directed by Pera Tantiña. All the tracks were composed by Big Toxic, except “Dr Visceral”, which was composed by Carlos Padrissa. This is a totally experimental work, mixing styles from drum’n’bass to ambient, passing through a wide range of original recordings from the imagery of Big Toxic. The CD was composed and recorded at Tecla Sala in Hospitalet while the show was being prepared, curiously, inside a security hut in the midst of the theater improvisations. It was mastered at the Doremí studios in Madrid, and the cover is based on an idea by Typerware and Miki Espuma.


01 Cocina China
02 Semana Santa
03 Siembra De Niños
04 Fuego Fatuo
05 Pastor De Huevos
06 Maná
07 Doctor Visceral
08 Construcción
09 Comida En El Andamio (Construcción II)
10 Bidonville

La Fura Dels Baus - M.T.M. Live @ Pavilhão Acácio Lello, Porto (9 Junho, 1995)

La Fura Dels Baus - M.T.M. + CD-Rom (La Fura, 1994)
Having worked with two record companies (DRO and Virgin), La Fura decided to launch its own label to produce its own recording projects. The group took this decision in order to increase its creative freedom in relation to CD cover design and length of tracks, and also to have more control over the product, even if it meant lower sales and distribution levels. La Fura record label has released seven CDs so far.
MTM, like Noun, is an emblematic work because it was ahead of its time. Released as an audio CD and CD ROM, it contains three pieces from the sound track and an interactive track containing information and videos related to the show. The CD cover is made from the same cardboard that was used for the MTM stage set.
For this CD, the group experimented with a techno sound, without sacrificing the samples-noise that form the soundscape of the performance. The pieces are composed by Carlos Padrissa, Miki Espuma and Big Toxic, who would be continue to collaborate with La Fura. The interactive track was created by Pep Gatell, with the technical assistance of Jordi Casinos and J. M. Pinillo Bun.


01 El Azar Camina Entre Nosotros
02 TercerJoo - Los Molinos
03 Replay

La Fura Dels Baus - Noun LP (Virgin Records (Spain), 1990)
Noun is one of La Fura’s richest and most complex recordings. The standard of the musicians who collaborated, and the very high production values, make
it an emblematic work.
Recorded over four weeks in a country house in Mieres, Gerona, mixed by Pat Macarthy (Suzanne Vega, Japan) and produced by John-Paul Jones (a member of Led Zeppelin). It was mixed at the Real World studios in Box, England, thanks to the kindness of Peter Gabriel.
All the tracks were composed by the four musicians who would go on to tour the show over three years: Ginesa Ortega (vocals and percussion), Juanjo Ezquerra (vocals and drums), Carlos Padrissa (vocals and saxophones) and Miki Espuma (vocals and keyboards). It also includes collaborations from Carles Almeua (violin), Jordi Satorra “Xoli” (documentation of the “compas” or flamenco rhythm and percussion), “El Faraon” (footwork) and Juan Manuel Cañizares (guitar) and the voices of the two girls
of the Ezquerra family.
The texts are by Antonin Artaud, Antón Reiza, Santiago Auserón, J. M. Pinillo Bun, Ginesa Ortega, Miki Espuma and Carlos Padrissa.


a1 Sola
a2 La Fuente
a3 Na Y Na Chiquiyo
a4 La Cabina 26
a5 El Amor A Las Rocas
a6 Noun
b1 Masas
b2 El Palo
b3 Ninsey City
b4 Enterro
b5 El Ciclon
b6 La Mari Acelerada
b7 Sacrifici

La Fura Dels Baus - Erg (Virgin Records (Spain), 1989)
ERG is not the soundtrack of Tier Mon, and even though some of the tracks are used in the show it should be considered as a work that stands alone, independent of the stage production. Creating a CD with its own personality was part of La Fura’s plans. The CD was produced by Leo Mariño, with lyrics by the Galician poet Sixto Peláez, and arrangements and composition by Juanjo Ezquerra and Sergi Caballero using the legendary “Fitipaldi” (Yamaha TX16 sampler), a combination that made ERG a cutting edge work. Paradoxically, the final result sounded something like dance music, with elements of hip hop or house, styles that were just starting to appear at clubs.
Behind the idea, coordination and composition of ERG were the three members of La Fura who were usually responsible for music recording projects, Antúnez, Carlos Padrissa and Miki Espuma, with the voices of Carme Canela and Mamen. The guitarist Juan Manuel Cañizares and dancer Candela were also involved, a kind of premonition, given that La Fura’s following recording would be almost totally flamenco.
The CD was recorded at Tecla Sala in Hospitalet and the mobile studio El Camión. It was launched in Barcelona at the Otto Zutz club and in Madrid at Archie, with a performance that used a combination of sarcophagi, nudity, cocktails and vegetables.


01 Forma Animal
02 Pulpa Pulcra
03 Tus Labios Son Cortantes
04 Extasis
05 Las Amazonas
06 Temi Lo Peor
07 Amen Amor
08 Ouou Coucou
09 Razas Humanas
10 Exodo
11 Temi Lo Peor (Versión Maxi)

La Fura Dels Baus - " AJÖE " (1986)
A. Ajöe
B. Mareâ

La Fura Dels Baus - Suz/O/Suz (1985)

Multidisciplinary dramatic performance performed at ground level, among the audience, and also on raised stages. It features mobile mechanical devices such as trolleys and rolling water tanks as well as electromechanical sound machines (Automatics). 1 AUTOMATICS Six electromechanical machines called Automatics are situated around the perimeter of the performance space and they create a musical concert. 2 IRRUPCIO Eight performers slide down ropes to the ground and start to dance through the audience with supermarket trolleys, running engines, empty drums, and a bottle of gas. 3 AJOE Musical concert. 4 COMBAT Two men standing inside trolleys are pushed by two performers among the audience. They are eating raw guts and drinking wine. They then have a fight with flour bombs and smear their bodies with blood. 5 PISCINES Two acolytes submerged in giant transparent water tanks are manipulated and taken out of their fetal container by their masters. 6 ULELE A liquid celebration by all the performers takes place among the audience with buckets, trolleys and rolling water tanks. 7 PENCAS Initiatory rite using liquids, dyes, flour, straw and food on the bodies of the acolytes, who are hanging from two towers or "pencas", Coda by the Automatics.

1 Ulele
2 Banyeres
3 Rito
4 Senda
5 Combate
6 Irrupcion
7 Agape
8 Aigua
9 Rumbo Africa
10 Automaticos

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