Molsa | Barcelona Cultural District


Neither war nor bombs will make Molsa stop looking for their scent … because the scent of friendship is a sweet memory that pushes the animal on a search that seems endless but that, like everything else, will have an end.

Molsa is a dog, a happy dog, a dog who loves Janinka, the girl who more than her mistress is her friend and her family. But wars destroy families, and Molsa loses hers when a bomb destroys his house and he is left alone and lost to his fate. Despite his despair, the Moss decides to look for the trace of his past to turn it into his future and embarks on a journey full of adventures, tears and laughter, fear and hope, in order to rebuild what the bombs have ruined: your happiness.

The story of Mosgo came from the pen of the writer David Cirici (Barcelona, ​​1954) and in a very short time the story became a successful classic translated into many languages: it won, in 2013, the Edebé publishing house award for children’s literature , and shortly after the Strega prize, awarded by the Bologna Fair, the most important in children’s literature, where he was also distinguished with the award given by the public. But this story is so powerful that it also made the leap to the stage as a show where puppets, projections and text merge with dance to recover the emotional landscapes of Molsa’s trip, a journey that will have four stops: the the search, the surrender, the frustration and also the hope.

The pilot of Molsa’s scenic journey is Thomas Noone, a British man who, nearly two decades ago, founded his dance company in Barcelona, ​​with which he has presented nearly 25 shows, in addition to the works he has choreographed for international companies. Thomas Noone, who in 2011 received the Ciutat de Barcelona award, works in Molsa with musician Jim Pinchen, with whom he had already collaborated on Strangely disastrous places.

Molsa, which premiered in 2017, is a co-production of the Mon Llibre festival and the Teatre Lliure, which presented it as part of its cycle “Refugees, foreigners, strangers …”

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