Contemporary dance | Scenic version 50 minutes | Street and unconventional spaces version 15 min 



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emerging company whose main objective is to deepen the body language from the research in the techniques of physical training related to Aikido, contemporary dance and physical theater:

Belén Bouzas, Diego M. Buceta and Fran Martínez

 Critic Award 

 Choreographic Contest of Madrid 2018 

 1st Prize Xuventude Crea 

 Xunta de Galicia 2017 

One need not be a Chamber to be Haunted is a show of contemporary scenic creation based on two fundamental axes: Aikido (Japanese martial art) and contemporary dance, complemented by other body techniques such as physical theater and dance Butoh, this last also of Japanese origin. We are interested in experiencing how to absorb, from a western physicality, some oriental physical precepts being aware of this cultural differentiation and investigating how to make it ours. Each of these disciplines leaves its mark on the piece, always at the service of what this creation needs to bring back to life our sleeping ghosts.


We take as a starting point the physical concept of resilience, understood as the capacity of a body or matter to recover its initial state once the disturbance to which it was subjected has ceased. For this we bet on a staging that seeks and vindicates the value of small details, starting from the body as an expressive and communicative channel.

One need not be a Chamber - to be Haunted -

One need not be a House -

The Brain has Corridors - surpassing

Material Place -

Far safer, of a Midnight Meeting

External Ghost

Than ist interior Confronting-

That Cooler Host.

Far safer, Through an Abbey gallop,

the Stones a'chase-

Than Unarmed, one's a'self encounter-

In lonesome Place-

Ourself behind ourself, concealed.

should startle most-

assassin hid in our Apartment

Be Horror's least.

The body - borrows a Revolver-

He bolts the Door-

O'erlooking a superior spectre -

Or More-

Poeme 670 

Poemes to the Death, Emily Dickinson 


Piece premiered in its street version at the Festival Artes no Camiño in Sarria on July 30, 2017 and

in the room version at the Teatro Ensalle in Vigo on December 7, 8, 9 and 10, 2017.



Critic Award at the Choreographic Competition of Madrid, 2018.

1st Prize Xuventude Crea, 2017.



It was presented at:

Encuentro Internacional de Jóvenes Creadores, Casadorrante, Montevideo (Uruguay), 2018; Xornadas "A escena galega no palco do Colón", Teatro Colón (A Coruña), 2018; Festival Cortoindanza, Cagliari (Cerdeña), 2018; Espacio Inestable Valencia, 2018; Festival Corpo(a)terra, Allariz (Ourense), 2018; Sala Ingrávida, Porriño (Pontevedra), 2018; Certamen Coreográfico de Madrid, 2018; Festival Migrats en Breu (Espacio Inestable, Valencia), 2017; Teatro Ensalle de Vigo (Pontevedra), 2017; Gala Xuventude Crea, Outes (A Coruña), 2017; Festival Metro Cadrado - FIOT, Carballo (A Coruña), 2017; Festival Herdanza, Santiago de Compostela (A Coruña), 2017.


Prácido Domingo


Belén Bouzas, Diego M.Buceta and Fran Martínez

Lighting Desing

Laura Iturralde


Joaquim Leal, Laura Iturralde and Diego Freijeiro

Graphic Design

Alba Troiteiro


Beno Molina

Thanks to

Asociación Pedra lo Lagarto, Kombat RB, ABP Sport, Teatro Ensalle, Can Cun Quinqué, María Jesús Piñeiro, Avelina Pérez, Venan Rodríguez, Fran Núñez, Olga Cameselle, Alfredo Rodríguez, Diego Valeiras and Helena Fredricksen.


"To dethrone the links between the shows of the Herdanza could not forget one of those who connected better with the public for its great beauty, or Non hai to be a house para ter pantasmas of Belén Bouzas, Fran Martínez and Diego M. Buceta, that hosted in the praza da Inmaculada. Aikido and contemporary dance go hand in hand in this piece in which not only -as in Mapa-  the body of the other is explored, but also played with the possibility of transforming three bodies into one, or two and back to the individuality and return to the union ... until leading to a kind of embrace of encounter with the other, without ceasing to be three. "

Praza Pública 

"Non hai que ser unha casa para ter pantasmas is another scenic poem of dance theater that invites a placid contemplation, to go, little by little, without us noticing, going into mysterious areas that attract associations between the animality of the corporeal , the voluptuous, and the spirituality of the ethereal. "


"A choreographic work with a very cohesive dramaturgy, which pivots on the contemplation of figures that transport us and suspend us, in a state of almost hypnosis, where the beauty of form is the beauty of the content."


"The ghosts are not in the houses or on the walls, they are in us and among us, but the beauty of the forms exorcises the fears."

Fantasmas y transportaciones en Prácido Domingo by Afonso Becerra, ARTEZBLAI El periódico de las Artes Escénicas

"At the Teatro Ensalle I attended one of the most delicate and delicious pieces that I saw lately. One of those jewels that have their value not so much for the brightness of the metals but for the compact color of the precious stones in which that jewel is mounted. I am referring to Non hai que ser unha casa para ter pantasmas, wonderful title with which the company presents itself: p r a c i d o · d o m i n g o. "

"There has to be a house for terrestrials from the energetic point of view is a continuum that flows in perpetual motion, which comes and goes like life before our eyes without showing at any moment the immense force that is needed to achieve this effect and that aesthetic immensity. "

"And above all the look, those supernatural eyes with which the three members contemplate us, the spectators, it is as if in them, in the gazes, the biological history of our spice inhabits, and therefore, if it were to show us the first time, almost like a revelation. "

Antón Lopo talks about 'Non hai que ser unha casa para ter pantasmas‘, Diario Cultural | Radio Galega 


Foto Laura Iturralde

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Foto Joaquim Leal

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Foto Joaquim Leal

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Foto Joaquim Leal

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