Disobey the apocalypse 8. Feel

We close the Escola de pensament this season with weapons to combat the apocalyptic narrative. Moderated by Marina Garcés and Albert Lladó, we will talk about feel with Clara Peya in Margarida Xirgu square.

Clara Peya graduated in classical piano from the ESMUC (2007) and studied jazz and modern at the Taller de músics in Barcelona. She studied for more than 12 years with Professor Leonid Sintsev, with whom she continued her training at the Rimsky-Korsakov conservatory in Saint Petersburg (Russia). She has been a student of masters of modern music and jazz such as Joan Monné, Juan Díaz, Roger Mas, Txema Riera and Marco Mezquida. At the age of 37 she has already presented thirteen albums in her name in which she has collaborated with musicians such as Sílvia Pérez Cruz, Salvador Sobral, Alberto Pla, Judit Neddermann, Alessio Arena, Leo Rizzi, Ferran Savall or Magalí Sare, among others. In addition, she played with different formations throughout Spain, Mexico, France, England and Russia. She is co-founder of the theater, dance and live music company Les Impuxibles, promoter of productions such as Harakiri (2022), Hambre (2020), Suite Toc no. 6 (2019), AÜC (2017) or Limbo (2015), and has composed various musics for theatre and dance shows, also for the Teatre Lliure, such as Jane Eyre (2017) and Renard o El llibre de les bèsties ( 2016).
Awards:
- Catalan Music Academy Award for Best Tour 2022 in Periferia
- Butaca award for Best Musical Composition and Best Show by Suite TOC num 6 (2019)
- National Prize of Culture 2019 to her career and commitment to artistic
- Enderrock magazine’s Critics Award for best album 2018 by ESTÓMAC
- Altaveu Prize 2019 to her artistic journey
- Butaca award 2019 for the best soundtrack by AÜC


Kidnapped by the stories that only know how to announce the end of the world, the idea of the future has been collapsed by a present that only knows how to relate to it from despondency, discouragement or, even worse, indifference. Joy, we know, is still a disobedient act and, once the traps of an empty happiness have been detected, the ability to play continues to be an incorruptible tool of creation and criticism, of the scene and of thought. The Escola de pensament invites us, then, to wake up in the links from the gesture and the word, as spaces of commitment and attempt.