The garden of the Hesperides

“The Garden of the Hesperides” is a Spanish-Moroccan project that has been developed through an exhaustive research process and through various workshops held with Moroccan and Spanish women in Casablanca and Valladolid, giving rise to the creation of this piece of dance-theater.
A show, which is a hymn to women, on a round trip between cultures and their peculiarities, and which serves to celebrate the 25 years of history of the Alicia Soto-Hojarasca company. Created in three artistic residencies, Thèâtre Ain Harrouda, Casablanca, Centro Cultural Serrada, and Teatro Calderón de Valladolid, The garden of the Hesperides It premiered on September 25 and 26, 2020 at the Calderón Theater in Valladolid with the support of the Calderón Theater in Valladolid and General Subdirectorate of International Relations and European Union, Undersecretary of the Ministry of Culture and Sports, Visages Program.

 

The show has earned the seal of the 5th Centenary of Magellan's First Circumnavigation of the World, for its quality and theme.

 

 

 


 

"Through a subtle fusion of myth and modernity, movement and narrative, oppression and hope, this deeply captivating work conveys a message of female emancipation and solidarity. By capturing the complexity of the female experience in all its richness, this exhibition reveals a reality in which memory, resistance, and dreams intertwine to outline the contours of a freer and more just future."

Published by Le Quotidien after the performance on March 20, 2025, at the 4ème art Theatre in Tunis, opening the Tunis Théâtres du Monde festival.

 

 


 

"The play offered a sensorial and contemplative experience that dazzled the audience and took them on a journey through the labyrinths of the female self, where emotions intertwine between pain and joy, between restrictions and liberation, and between oppression and resistance. With an innovative artistic vision, director Alicia Soto rewrites this story, turning the "garden" into an interior space for every woman, where she preserves her dreams and disappointments and seeks to find her path to enlightenment."

Published by Mohamed Sami on Backstage30.com after the March 20, 2025 performance at the 4ème art Theatre in Tunis, opening the Tunis Théâtres du Monde festival.

Synopsis

What's behind every woman's face I've known,
What story is behind each look,
It does not matter where they come from, nor what country they come from, the gardens are the same, there are similar hells, and paradise is not reserved for them, because they are women.
Alice Soto

“Everything starts with a woman's body and the desire to feel life.
Only later does the fear and greed to possess and dominate take hold.
Freedom and daring scare those who have never traveled,
but the deep blood patiently digs the place of the flower that will be
star. In each womb the echo of the garden echoes, primordial and eternal
And despite the dangers, the abandonment and the exhaustion.»
From grains of sand and tears in drops, new roots are invented
and a different sky»

Julio Martin de la Fonseca

Our Garden of the Hesperides represents the inner garden of women; of all women universally, women of different cultures, religions, places and times. From the dreamlike, through the poetic description, the place that every woman builds to dream, to rest, to take breath, to quench her thirst and build an intimate world is shown, which helps her to continue, in other cases to survive. The garden only exists if darkness is known. The garden only exists if darkness is known.

The Hesperides, according to Greek mythology, were the melides, nymphs, who tended a garden sheltered by fruit trees of golden apples that granted immortality. This fruit garden according to Greek mythology could be located in the south of the Iberian Peninsula or in the Moroccan Atlas. Hence the title The Garden of the Hesperides.

artistic sheet

Creation and choreography: Alicia Soto
Artistic collaboration: Abdellah Chakiri
Dramaturgy: Alicia Soto, Julio Martín da Fonseca and Carmen Samudio Kostina
Theater direction: Julio Martín da Fonseca
Performers: Lorenza Di Calogero, Paloma Calderón, Sanae Assif, Ester Lozano and Alicia Soto
Texts: Carmen Samudio Kostina et al.
Original music: Abdellah M. Hassak
Lighting Design: Miguel Ángel Camacho
Technician: Álvaro Guisado
Costume design: Elisa Sanz
Photography: Luis A. Barajas
Video: Mundimag
Communication: Lemon press
Production: Ester Lozano, João Sousa Marques and Marta Besteiro

 

Project

See downloadable project resources in the right section

Press reviews

By: Carlos Toquero Sandoval

«… This last work is, for me, another pleasant surprise, a breakthrough in his career. And it is the result of three workshops that this choreographer has carried out in Lisbon, her current home, Morocco and Valladolid. Work done with women because it is a reflection on women of any condition and ethnicity, from anywhere in the world. (...) Very good dancing actresses Lorenza Di Calogero, Paloma Calderón, Sanae Assif, Ester Lorenzo and Alicia Soto, interesting music by Abdellah Hassak, original lighting by Miguel Ángel Camacho, and good theatrical direction by Julio Martín da Fonseca».

By: Cristina de Lucas

«The subtle narrative thread that sustains the work builds a story of liberation that alternates rage and serenity, challenge and despondency, sensuality and anguish. Despite the powerful dramatic charge, the general tone is not emphatic, complaining or violent, but rather introspective and even hopeful at times. (...) The choreography created by Soto as a vehicle for such deep and suggestive reflection includes powerful images and symbols. Raised fists sometimes hint at a desire for revenge, sometimes suggest impotence, and sometimes visualize inner turmoil. Bodies that roll and slide laboriously across the floor evoke feelings of humiliation and physical suffering, but also that unbreakable will to get up that articulates the work."

By: Margarita Muñoz Zielinski

«(…) Everything conjugated in perfect harmony achieves a really interesting work. Different stories in different scenes. Dance-Theatre. Body expression. Contemporary dance. A style made up of so many details that it is difficult to classify due to its successful difference from others seen so many times in other Companies. (...) Alicia Soto, as a choreographer, extracts incredible resources from each part of the female body, such as her own hair, collected, loose or shaken, swinging like her arms».

By: Paloma Calderon

«A garden that has been created thanks to the great work carried out by a top-level artistic team, made up of names such as Alicia Soto herself, creator, choreographer, director and performer; Julio Martín da Fon seca, who has been in charge of the theatrical direction; the great Elisa Sanz, designer of scenic space and costumes who has 8 Max Awards to her credit -and who this year 2020 has just won one more-, and has been in charge of designing all the costumes for the play and the prominent designer Miguel Ángel (arnacho with also several Max awards to his credit ».

By: Le Quotidien

"Tunis Théâtres du Monde opens with The Garden of the Hesperides: a journey through the twists and turns of the feminine universe The third edition of "Tunis Théâtres du Monde" opened yesterday, Thursday, March 20, at the "Le 4ème Art" theater in Tunis. Organized by the Théâtre National Tunisien (TNT). On the opening night, the audience attended a theatrical performance, a co-production between Morocco and Spain, entitled The Garden of the Hesperides, directed by Spanish director Alicia Soto. Combining theater, dance, visual storytelling, and music, this immersive experience explored the intimate world of women through an approach that combined mythology, poetry, and movement. The title of the show is inspired by the Greek myth of the Hesperides, the nymphs in charge of tending a garden with apple trees bearing golden fruit, symbols of protection, femininity, and immortality. This mythological nod is used in the play as a metaphor for the intimate world of women, where the characters oscillate between the private and public spheres, seeking protection and emancipation. The Garden of the Hesperides proved to be a sensorial and introspective odyssey, which drew the audience into the twists and turns of the female soul. Emotions intertwine, oscillating between pain and joy, oppression and liberation, submission and resistance, in a show that offers a new interpretation of the female experience in today's world. In Alicia Soto's interpretation, the garden becomes an intimate sanctuary, a space where each woman harbors her hopes, disappointments, and search for light. On stage, bodies express themselves as a visual language, revealing the tensions between the desire for emancipation and the limitations imposed by society. Between shadow and light, movement and stillness, the dance powerfully conveys the inner struggles and profound aspirations of the female soul. The choreography alternates between tranquility and agitation, revealing the profound internal tensions of the protagonists. In some scenes, the women reclining on the colorful fabrics seem in perfect harmony with their surroundings, evoking femininity, fertility, and ancestral heritage. In contrast, other scenes take on a more ritual and expressive dimension: arms are raised, crossed, and intertwined in a collective movement of revolt, embodying a shared struggle against oppression. Artistically, the performance stands out for its subtle fusion of the visual and the musical. Lighting, a true narrative tool, shapes emotions: dim lights evoke isolation and limitations, while flashes of light symbolize the search for freedom and the emergence of hope. The stage design, conceived with meticulous precision, blends harmoniously into the world of the performance. At the end of the performance, the colorful fabrics scattered across the stage transform into a vibrant metaphor for the inner richness and plurality of women's experiences. In terms of sound, the music fuses traditional Moroccan melodies with contemporary Western rhythms, bridging cultures and giving the work a universal appeal that transcends geographical and cultural boundaries. The Garden of the Hesperides is not only aesthetically pleasing but also addresses crucial issues related to the status of women in different societies. The work highlights the tension between individual freedom and oppressive social norms, women's struggle for their identity in a world governed by patriarchal structures, and the profound symbolic bond between women and nature. The performance also raises essential questions about women's existential quest throughout the ages, exploring their initiatory journey toward emancipation and the re-appropriation of their identity. The Garden of the Hesperides is more than simply a chronicle of women's struggle: it celebrates their resilience, their ability to reinvent themselves and overcome the challenges imposed by society. An artistic project at the crossroads of cultures. This show is part of a dynamic of cultural cooperation between Spain and Morocco. Before arriving in Tunisia, it was presented in Spain, Portugal, and Morocco as part of international theater and dance festivals. This collaboration highlights the universality of women's issues, underscoring that the fight for women's rights transcends borders and affects all societies, regardless of their cultural, social, or geographical origin. Through a subtle fusion of myth and modernity, movement and narrative, oppression and hope, The Garden of the Hesperides is a deeply captivating work, conveying a message of female emancipation and solidarity. By capturing the complexity of the female experience in all its richness, this exhibition reveals a reality in which memory, resistance, and dreams intertwine to outline the contours of a freer and more just future.

By: Mohamed Sami

"Tunis: Theaters of the World" launches with a focus on the feminist struggle against restrictions. An occasion that opens the door to the discussion of contemporary human issues at a time when theater has become a space of resistance, expression, and freedom. The third edition of "Tunis: Theaters of the World," organized by the National Theater of Tunisia to celebrate World Theater Day, continues until March 27. The event, which has become a platform for artistic dialogue and theatrical creativity, kicked off Thursday evening with the joint Moroccan-Spanish play "The Garden of the Hesperides," directed by Spanish director Alicia Soto. This play emerges as part of a Moroccan-Spanish cultural collaboration, having been presented in Spain, Portugal, and Morocco before arriving in Tunisia as part of the "Tunis: Theaters of the World" event. This collaboration highlights that women's issues transcend geographical boundaries, affirming that the feminist struggle against social limitations is a shared human experience not limited to a specific culture or country, but has a global resonance that reflects the reality of women around the world. The title of the show is inspired by the Greek myth of the Hesperides, which speaks of nymphs guarding an orchard filled with golden apple trees, symbols of protection, femininity, and immortality. The Hesperides, also known as the "Daughters of the Evening" or "The Keepers of the Apples" in Greek mythology, were nymphs tasked by the goddess Hera with guarding the famous Garden of the Golden Apples, located at the western edge of the world. This garden was gifted to her by the earth Gaia on the occasion of her marriage to Zeus. In the play, this mythical dimension becomes a metaphor that reflects the inner world of women, as the characters move between private and public spaces in search of protection and liberation. The play offered a sensorial and contemplative experience that dazzled the audience and took them on a journey through the labyrinths of the female self, where emotions intertwine between pain and joy, between restrictions and liberation, and between oppression and resistance. With an innovative artistic vision, director Alicia Soto rewrites this story, making the "garden" an interior space for each woman, where she preserves her dreams and disappointments and seeks to find her path to enlightenment. On stage, bodies were transformed into a visual language that narrates the women's suffering, while choreographic scenes blended stillness and agitation, embodying the conflict between the desire for liberation and the restrictions imposed on them. The show featured a comprehensive visual and musical vision, with the stage elements—including lighting, musical effects, and costumes—playing a fundamental role in highlighting the characters' psychological states. Dim lighting expressed restriction and isolation, while bright lighting symbolized freedom and emancipation. The stage design also utilized colorful fabrics and moving lights to enhance the visual dimension of the work. The music combined Moroccan traditions with modern Western rhythms, giving the show a global character that united different cultures. Regarding the themes presented, the presentation highlighted fundamental issues related to women's experiences in various societies, addressing the concept of individual freedom and the conflict between female identity and society. The work also explores the existential journeys of women throughout the centuries in their search for meaning and existence, free from the shackles that bind them, thus reflecting the idea of the physical and spiritual journey that women undertake in their attempt to find their true identity.

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