Reviews

AUC is a shocking and very deep show that from the first moment provokes a shock to the viewer, since it transports you to an “uncomfortable” but very interesting place, from where you can experience and live very closely the interior of this world so cloudy.
Janna Ayesa, http://espectaculosbcn.com/critica-auc

AUC is an inward and outward incision. It is a brutally lethal cry that tears the air violently, but it is also the expression of the deepest pain, a lament that is generated in the bowels of the victim and of society, who dances on the walls of internal discomfort, and Which eventually explodes into the most animal scream.

Mireia Chavarria, https://directa.cat/actualitat/auc-poetica-del-dolor

AUC looks straight ahead and does not seek complacency or pity. It does not shy away from any scenario, from the most habitual and (unfortunately) integrated in our day to day (“Where are you going so alone?”, “You will leave thus dressed?”) Until the rapes middle of the street at the hands of an unknown armed, For violations that come after a more or less romantic date or sexual abuse of minors. The show is a tapestry of scenes and techniques.

Gema Moraleda, http://www.somnisdeteatre.com/auc-so-esquerdes

No means no; Simple, right? Well apparently it is not so clear and so before starting the work one of the actresses tells us that it is not allowed to make recordings, or photographs … That he believes that saying not once must have enough, but that will repeat … In case the flies: it is not possible. That if someone has seen her in the bar before, maybe with a glass of more, something cheerful, you should believe it when you say no, for the simple reason that it is not no. It is one of the notices of turning off the most brilliant mobiles and in the context I have ever heard.

Josep Maria Ribaudi i Martí, http://blocdenkbrota.blogspot.com.es/2017/07/auc-el-so-de-les-esquerdes.html

It is a very personal work of creation in which Rovira gives voice and vote to each one of the interpreters. At certain moments, they themselves leave the interpretation and strip to speak from their own perspective. They tell us here how the process has been vivid and everything they have thought about.

Alba Cuenca Sánchez, http://www.masteatro.com/auc-les-impuxibles-carla-rovira/

I could speak of verbal violence, of contempt, of putting my finger on the sore, of having to kneel for hours and hours to ask for forgiveness, to pay money to be forgiven, to feel to say “you make me sick” and allow yourself to be humiliated sexually, …

Neus Mònico Fernández, https://www.teatrebarcelona.com/recomanacio/auc-neus-monico-fernandez-59918

Even the silences acquire a vehement charge that is thrown fiercely in the stalls. The violated body is the subject that the actresses will use as a transmitter of fear, rage and shame through dance and gesture.

Xavi Pijoan, https://www.teatrebarcelona.com/recomanacio/auc-xavi-pijoan-60052

Les Impuxibles and Carla Rovira have been brave and have approached the theme from different perspectives and through different disciplines, such as dance, music or theater. In this sense, they offer us a fragmented spectacle in which the success surpasses the parts less achieved, although at some point is missing a greater integration of the parties as a spectacle.

David Elfa Novoa, https://www.teatrebarcelona.com/recomanacio/auc-david-elfa-novoa-60162

AUC is a feminist cry that fights not to be silenced, made with an exquisite, combative and necessary taste. Its spirit of denunciation manages to be as impressive as it is emotional and it mixes fluently hard and transcendent moments with others of great scenic beauty

Iván F. Mula, https://www.teatrebarcelona.com/recomanacio/auc-ivan-f-mula-60269

They offer some exceptional moments. The dissonant notes of Clara Peya on the piano in the central theme of the work and its explanation, which reaffirm the magnitude of this composer. The solo of the dancer Olga Lledó with a yarn of wool, which carries further than in other occasions the somatic dance that choreographed Ariadna Peya. And the magnificent monologue, perhaps with an excess of contextualizing interruptions, of the actress Julia Barceló and which, according to him, is the responsibility of the always incisive hand of Carla Rovira.

Jordi Sora i Domenjó, http://escenadelamemoria.blogspot.com.es/2017/07/auc-el-so-de-les-esquerdes.html

It is not easy to enter into a subject like this: painful, uncomfortable, located in the thin line between the complaint and the morbidity, and they have been able to do it from different optics by deploying a good number of scenic resources with effective simplicity and great sensitivity.

Núria Cañamares, http://www.recomana.cat/CRITICA/3756/31/A%C3%BCc/N%C3%BAria%20Ca%C3%B1amares

Carla Rovira has been able to relate with a simple enter and exit fiction. The exquisite treatment for sensitive subjects treated so that the public feels violated but in its right measure is one of the highlights of the assembly. One thing is to impact and another to try to avoid treating the subject for free.

Elisa Díez, http://butaquesisomnis.blogspot.com.es/2017/07/auc-el-so-de-les-esquerdes.html

AUC is a piece of undoubted militancy on sexual abuse. Is a type of works that are essential, nowadays. It is necessary to understand the role of the victim, to understand the vulnerability and the sensation of having a guilt for being violated.

Jordi Bordes, www.elpuntavui.cat/cultura/article/19-cultura/1192238-super-dones.html

AUC is a heartbreaking cry, a cry drowned by taboos, mysogyny, conventions, moral doubles and institutionalized hypocrisy; a scream of fear that stays in the throat until it becomes encyst. The impuxibles (Ariadna and Clara Peya) and Carla Rovira have proposed, in some way, to release or to remove it.

Yolanda G. Madariaga, http://www.recomana.cat/CRITICA/3756/38/A%C3%BCc/Iolanda%20G.%20Madariaga