Harket [protocolo] Poster
Harket [protocol], by Juan Pablo Mendiola (2012)

Cristina Harket is a young volunteer in a project exploring the possibility of survival in a bunker with the sole aid of an artificial intelligence system named MAP #2. She sustains the system with a series of physical, mental, and emotional routines, and the system is responsible for keeping her alive. Something goes wrong, and the month she was supposed to spend inside turns into over two years. The bunker's doors remain closed.

The show speaks of trust and betrayal. Of the need to bond with someone or something, even if it's not human.

HARKET [PROTOCOL] is an interdisciplinary science fiction performance where dance, theater, humor, music, design, and video-mapping interact in its staging. It is also a transmedia project that extends onto the internet through blogs and social networks, where the audience can expand the experience before entering the auditorium or after, upon returning home.

HARKET [PROTOCOL] is the first performance by the company PANICMAP. It represents a firm commitment to the research of a unique language that emerges from the intersection of different artistic disciplines and characterizes the proposals of its author and artistic director.



Show with text in Spanish, with possibility of English surtitles

playwriting / direction / video design
Juan Pablo Mendiola
performer
Cristina Fernández Pintado
MAP #2 voice
Juan Pablo Mendiola
choreography
Cristina Fernández Pintado
sound design
Juan Pablo Mendiola
set design
Assad Kassab
costume design / makeup
María Almudéver
lighting design
Manuel Conde / Juan Pablo Mendiola

motion graphics
Beatriz Herráiz / Adolfo Muñoz
video system design / programming
Manuel Conde
audiovisual technicians on tour
Manuel Conde / Juan Pablo Mendiola
poster / program design
Assad Kassab
photography
Assad Kassab
creative sparrings
Paula García Sabio / Xavi Moreno /
Joan Ballester / Arturo Muñoz
transmedia content creators
Arturo Muñoz / Cristina López /
Maika Gimeno / Juan Pablo Mendiola

press
Maika Gimeno
production assistant
Cristina López 
national distribution
A+, soluciones culturales
production design
Margarita Burbano
production
PanicMap - Proyectos Escénicos
supported by
IVC - Institut valencià de Cultura
Sala L'Horta
AudioNet
Yapadú Produccions
Àrea de Cultura - Ajuntament de Mislata
aknowledgments
Blanca Torres / Flavio Burbano / Ana Campos

  Festivals and fairs

  • MADFeria

  • Fira Tàrrega

  • Escena Abierta Burgos

  • Festival TAC de Valladolid

  • Danza Xixón

  • Mostra de Teatre d’Alcoi

  • MAC Mislata 2018

  • Mostra Reclam de Castelló

  • Festival TOC d’El Puig

  • Festival Internacional Outono de Teatro de Carballo

 Awards and Honors

  • Premio BBVA de Teatro 2014 Mejor Espectáculo

  • Premio BBVA de Teatro 2014 Mejor Actriz: Cristina Fernández

  • Premio del Festival Toc De El Puig 2013 al Mejor Texto

  • Candidato Premio Max 2014 Mejor Autoria Revelación

  • Finalista Premio AAPV ’13 Mejor Interpretación Femenina: Cristina Fernández

  • Espectáculo Recomendado. Comisión Teatro Y Circo. Red Española De Teatros. Cuaderno Octubre 2012

  • Espectáculo Recomendado en Catálogo Sarea. Red Vasca De Teatros

Reviews

Óscar Brox
(Revista Detour)


In Harket (protocolo), theater and cinema, dance, and three-dimensional projection come together, making the experience resemble a live-action movie, complete with suspenseful plot and beautiful moments supported by digital technology.

However, alongside Dystopia, one can perceive something more in PanicMap's proposals: not just the intention to explore the limits of theatrical experience but also to play with genres, with more traditional fiction, to confront us with that near future in which technology endangers our emotional existence. Where every body will be obliged to dimension its space, drawing the lines of its reality, the contours of its home. Ultimately, of its identity.

Indeed, dance, theater, and technology blend seamlessly thanks to the magnetism and vital glue of Cristina Fernández, an ideal medium, who makes us empathize with her character, share in her anguish, believe in her, and follow her logical reasoning and physical tension in a crescendo skillfully measured by the director.

[...] We watch with a fascination that has only grown since we entered the theater to enjoy a show and, without ceasing to do so, discover even more. Don't miss it.

Julio Castro (La república Cultural)

Juan Pablo Mendiola's new work builds on the idea of previous works, also incorporating computer engineering applied to light and image, as he did in another fantastic work, "Ras!", where the format was dance for children. This time, it transforms into theater and dance, with the constant projection of lights and images that create a fictitious environment, like a series of skins that also define the mood and moment of the drama.

Jordi Vilaró
(La Davallada D’Orfeu)

Working with a Kafkaesque ontological anxiety and a wonderful choreographic display with touches of Pina Bausch, Mendiola presents a technically perfect and visually hypnotic staging that is primarily devoted to the growing drama of the flesh-and-blood protagonist of the work (Cristina Fernández).

The technical resources add freshness and formal originality, but what really guarantees the success of any theater work remains the same now as it was 2,500 years ago: 1) to confront man with the uncertainty of his own condition; 2) to find a performer who puts body and soul into achieving this purpose.

Needless to say, the excellent and comprehensive work of Cristina Fernández and the fertile imagination of Juan Pablo Mendiola amply achieve both points.
Congratulations to both, and to all the members of the company!

The show has multiple interpretations that the viewer can formulate at will: A metaphor of a kidnapped woman? A metaphor for the need to be dominated by a superior being? A metaphor for the dominance of new technologies over the ability to decide? A metaphor for Stockholm syndrome?

The show moves in a scenography of few elements: a sofa, a small table, and some dividers, which change coloration or shape thanks to video graphic design applications, as befits a science fiction future where the human handcrafted touch is increasingly cornered by the invisible hand of the keyboard. Gregor Samsa, if he raised his head — or if he raised his beetle's antennae — would drool to see how his Kafkaesque metamorphosis has evolved.

All technical and visual aspects are exceptionally elaborated and displayed with rare perfection. The intrigue is very well constructed and offers interesting reflections, and Cristina Fernández's work as a performer is excellent, giving more consistency and credibility to the story.
An unexpected pleasure.

No one can doubt the important role that new digital technologies can play in theater. We can see the works of Robert Wilson, Merce Cunningham, or La Fura to corroborate it. In this case, we must talk about Juan Pablo Mendiola, a creator who must be taken very seriously, especially after this surprising and striking show.
Coldness? No, in this case, there is poetry, or, as Arthur C. Clarke said, "any sufficiently advanced technology is indistinguishable from magic." That's what happens in this show, which is, above all, good theater.

Sato Díaz
(Primer Acto)

In an era where technology is much more than an extension of the human body, where numerous human functions necessarily pass through the mastery of certain technologies, this work is fundamental. It presents in a fun way, with fresh and well-constructed dramaturgy, a necessary but impossible relationship, the relationship of the human being with the machine.

Science fiction and contemporary dance, electronic music, and an attempt to understand the world when it seems the world is against us, screaming for us to rebel against the established norms.

Iolanda G. Madariaga (Recomana.cat)

It is a very dynamic show that masterfully combines contemporary dance, theatrical performance, and new image technologies. Under the baton of Juan Pablo Mendiola, an elegant and sophisticated spectacle unfolds, functioning like a precision mechanism.

Technically brilliant, humanly unsettling, so is Harket [Protocolo], a creation of the Panicmap collective and the ingenuity of Juan Pablo Mendiola (dramaturgy and direction), a risky bet for a genre, science fiction, with little tradition on stage. The ensemble impresses and moves, disturbs, and leaves a lasting impact, a mysterious capsule that one must enter.

Juan Marea (Blogculturalia.net)

"Harket (protocolo)" is an unusual proposal where dance serves as a narrative path; audiovisual splendor as scenic space; and artistic experimentation as a powerful alibi.

Cristina Fernández proves she is a true all-rounder, offering an energetic performance that captivates the audience from the first moment. The performer rigorously moves through the different registers demanded by the text and does so with great success. On the other hand, Juan Pablo Mendiola's direction is effective and dynamic, creating a believable atmosphere in which it truly seems we see what happens inside the bunker, transporting the audience there.

Teresa Bruna (Teatralnet)

The actress speaks, dances, and, supported by music, video-mapping, and design, conveys her anguish to the audience - the fear of being forever trapped with an omnipresent voice that observes her at all times without showing where its eyes are. A spectacular performance, one that is all-in.

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