Skip to main content

OTRADANZA

"Eighteen years of experience have allowed OtraDanza to establish itself as a legendary company in the Valencian dance scene. Its work consistently generates expectations that are met. Despite the variety of its creations, it always maintains a line of exploration where the important thing is the transmission of concepts to the spectator, whether through narrative, symbolism, or sensory experience."

JOSE VICENTE PEIRÓ

"Romeo and Juliet is a nearly empty space: vibrant, mobile colored panels, shining cubes, a garden that doubles as two houses, two terraces, two families, two estates, two distinct hues… There’s a Herculean, overwhelming soundtrack that envelops everything… where hundreds, thousands of musicians play; hundreds, thousands of performers dance; hundreds, thousands of breathless, enchanted spectators…"

PACO ALBEROLA

"Merging contemporary dance and art is a uniquely potent combination that Rito achieves"


SONIA MARCO

That of Noales is the kind of work that makes you pause at the exit of the theater to check whether every emotion that hovered over you during the performance was also shared by the rest of the audience.

TANIA HERRERO

“The performers’ gestural expressiveness is masterfully realized—they overcome the choreography’s immense physical demands with soundtrack, lighting, and costume that elevate ‘Vigor Mortis’ into a tremendously powerful creation.”

MARGARITA MUÑOZ ZIELINSKI

“To see, to feel, to enjoy an Asun Noales creation is its own experience. Despite her movement aesthetic being distinctive, you never know what the new show will bring—and that element of surprise, Sempere achieves.”

TANIA HERRERO

“Yet in its fragile-yet-resolute structure, Rito is, nonetheless, an instant in which nothing happens—and in which, therefore, absolutely everything happens.”

PABLO BUJALANCE

“‘La mort i la donzella’ is a production abundant with beauty: a superbly crafted work meticulously directed by Asun Noales… At times pure dance. At times closer to physical or gestural theatre, interactive, asymmetric, with elements approaching performance art… It is intense, braided like a rope, dense yet, by contrast, light at many moments, delicate, almost spiritual…”

PACO ALBEROLA

“‘Da Capo,’ in its serenity, is immersive. The choreography flows with grace, continually creating beautiful, harmonious imagery... Da Capo imbues you with its trace, its dust, its sweet scent. The scent of beginning anew.”

CLAUDIA BRUFAU

“It is a lesson in elegance, in savoir-faire, in dance imbued with meaning. All that is needed is the right setting and an attentive spirit for its enjoyment. Nothing else is required: two individuals amid vastness. That is where mystery happens. Theatre’s. Dance’s. Life’s.”

JORDI SORA

“‘Clandestino’ is bold dance, singularly aesthetic and compelling in execution. Its challenging movements, transgressing contemporary styles and choreographic geometry, are intoxicating.”

JOSE VICENTE PEIRÓ

“Bodies as waists and torsos. Torsos whose forms create figures that interact and respond, completing one another as if part of a collective organism. OtraDanza’s hallmark lies precisely in all participants’ ability to reveal themselves through the discipline they embody.”

FERNANDO SOLLA

“Tremendous moments of two mud-smeared bodies exploring, harmonizing… delving into essence with judicious doses of aesthetic impact.”

ANTONIO ZARDOYA

“The eye that views ‘Back’ gazes inward into dance, seeking the movement’s true nature as it unfolds from one realm (musical) to another (visual), accompanied by a unique melody—poetics, whose nature is rhythm. A work with pictorial, cinematic, and poetic dimensions.”

JOSE ANTONIO TRIGUERO

“Truly, the show is simply sublime, captivating, magnificent... words fail to capture such beauty.”

NEL DIAGO

“The performers’ technical proficiency and subtle stage support are so sophisticated that, despite the audience surrounding the performance, they manage to create the illusion of lifting off the ground—floating in the air as if at sea.”

OSCAR ROMERO

“Noales captures the essence of Schubert’s quartet and transposes it from the auditory into the visual with aesthetic effectiveness, a profound premise, and poetic development.”

JOSE VICENTE PEIRÓ

“It is extraordinarily rare to encounter—born on the cultural periphery—a contemporary dance show so deserving of international recognition… ‘La Mort i la Donzella’ is simply a masterpiece that honors the voice of a choreographer who chose to return to her homeland.”

FERNANDO MERINO

“Once movement begins, beauty, emotion, energy, and sensation spring forth like dust stirred by two dancers, whose technical quality rekindles long-unfelt pleasure, moving in an infinite loop.”

AMELIA IÑÍGUEZ

“The show fascinated me. Essential, stripped down, vital, mortal. I could write endlessly, articulate everything. Yet throughout the performance, a short poem by Valente—like a black butterfly—flickered repeatedly over my chest: ‘When nothing remains but the void of not remaining, it could in the end be useless and perfect.’”

FRANCISCO SARABIA

“As with all of Noales’s creations, her works are distinguished by their meticulousness, elegance, and coherence… An intense, overwhelming performance that captivates from the very first moment.”

GEORGINA A. CAYUELA

“From the simplicity of the sketch, with absolute faith in dance’s capacity to convey what truly matters; and a calm, a scenic pause, allowing the audience an intimate, understated emotional journey.”

JORDI SORA

“Beyond the emotional architecture that the choreographers have devised, there is the expressivity with which they dance, that full-bodied communication, those thousand stories that express what is true—but invisible to the eyes—and that connects directly with an ancient, sometimes maligned, but no less real, concept of beauty.”

JORDI SORA

“‘Clandestino’ is something else—it arises from Noales’s versatile, also educational, vocation. Dance for everyone, of course. The tale of ‘Clandestino’ is polysemic, always.”

ANTONIO ZARDOYA

“It is difficult to express with words the overwhelming beauty of ‘La mort i la donzella.’ It demonstrates, among other things, how words become superfluous when beauty asserts itself—unanchored by material supports—when it reigns on its own, wielding solely the exaltation of its own sovereignty.”

FERNANDO PARRA

“‘Da Capo’ is a work of harmonious research, classical in the best sense—that is to say, alive—because a classic is one who remains alive despite the passing of time.”

JOSÉ ANTONIO AGUADO

“‘Sacra’ is a life’s album. From the DNA that builds the first possible scale of life to an unexpected death… It is a highly danced piece of long passages, abundant in physicality, even when there is minimal partner contact. In that respect, it recalls the strength and intensity of Hofesh Schechter.”

JORDI BORDÉS

“A total hit—this song to transcendence, tradition, and, above all, that intimate bond of the human being with something—or someone—not oneself, expressed in song, in art, and in ecstatic silence.”

HENRIQUE G. FACURIELLA

“Organic, visceral, primitive… The dance production ‘Sacra’ penetrates the spectator’s core in an initiatory journey through life that begins from the very moment the curtain rises.”

SONIA MARCO

“There are artists who like to pose deeply human, profound, insoluble questions; far from using spectacle as mere entertainment. And doing so with the language they best wield, without compromise, with radicality.”

JORDI SORA

“Sempere’s sculpture and painting have rhythm in the human body. A beautiful staging—spare yet complex, AUDIOVISUAL, built around museum content where music and dance rarely take place. Last night, Cuenca’s auditorium was a musical and dance museum.”

LA LECHUZA EN DIEMBRE

“Asun Noales needs only a single word to title her creations—and the fact that her two most recent works are called Rito and Sacra reveals a creative world in which modern dance is conceived as sacred ritual.”

JOSÉ FERRANDIZ LOZANO

“The result is a piece grounded in humor, with a simple staging but excellent visual impact. The choreographic text is agile and effective… Once again, Noales—versatile—demonstrates her creative potential.”

GEORGINA A. CAYUELA

“The company showcases a potent energy and admirable coordination—from group movement to the composition of duets or solos. The dancers, especially Venezuelan Sebastián Rowinsky, are extraordinary—intelligently led by Noales, an artist of whom we should be proud, displaying remarkable solidity.”

INMA GARÍN

“Group choreography, solos, and duets alternate while the stage teems with reflections—optical effects born of repetition—and an almost hallucinatory sense of depth… For an hour, the live-created soundscape and the fusion of set and dancers form a work of profound harmony. Which surprises no one familiar with Asun Noales’s work.”

ALVARO OCTAVIO MOLINER

UPCOMING EVENTS

PROMETEO - MADRID

14 March 2026

15 March 2026

MADRID - Centro Danza Matadero

AL PUNTO - ESPLUGUES DE LLOBREGAT

14 March 2026

ESPLUGUES DE LLOBREGAT

FESTIVAL DANSA METROPOLITANA

AL PUNTO - SAN FERNANDO DE HENARES

26 April 2026

SAN FERNANDO DE HERNARES

PROMETEO - ELCHE

17 May 2026

ELCHE - Gran Teatro

ROMEO Y JULIETA - LJUBLJANA (ESLOVENIA)

25 August 2026

LJUBLJANA - ESLOVENIA

LJUBLJANA FESTIVAL

RITO - COSLADA

19 September 2026

COSLADA - Nuevo Teatro Municipal

SEMPERIANA - PADOVA

14 November 2026

PADOVA - Teatro Ai Colli

LA BANDA - RIVAS

15 May 2027

RIVAS