Hurlé (is named) in honour of my grandmother, Mimi Hurlé, to defend those silenced artists of the everyday who are the women of my maternal family, strong and creative women whom were given neither the permission nor the space to express themselves Constance Hurlé

The Company

Constance Hurlé is a multidisciplinary live arts company where the axis is the dialogue between word, body and music.

It is based around the Galician-Asturian artistic figure Constance Hurlé, addicted to expressiveness, in the broadest sense of the term, who began to produce her own productions during her time at university in Santiago de Compostela. Since 2010 she has been giving her literary creations a stage form based on micro-pieces, monologues and performances.

With the passing of time, he strengthens his stage language where both poetry and music will acquire more and more importance, becoming a distinguishing mark of this living arts company.

Her pieces walk on the edge of performance, striving for a genuine identity, fleeing from the traditional categories of theatre, dance or poetry.

The artist develops three main lines of work:

  • Small-format performances.
  • Poetry in dialogue with the stage or other arts.
  • Contemporary dance-theatre pieces for theatres.

The main works of the company so far are:

No derradeiro minuto (micro-piece)

Santiago de Compostela (2010)

Nefelococigia (university theatre)

Santiago de Compostela (2012)

Constance Hurlé

Contemporary creator and writer. Director of Constance Hurlé andHurlé prods. She holds a degree in classical philology from the University of Santiago de Compostela and a Master’s degree in Research in Theatre Studies from the Autonomous University of Barcelona.

On a theoretical level she has actively participated and attended performing arts congresses and was part of the International Congress for Young Researchers on Theatre Studies in 2018. It has a theoretical-practical line of research that starts from the premise of dance theatre as a tool for self-discovery.

She started doing theatre when she was very young and throughout her life she will go through different disciplines and schools of performing arts and dance, highlighting the Escuela Integral del Creador Escénico Vladimir Tzekov. in Granada and A Artística Vigo with Olga Cameselle. She trained in an alternative way and attended several dance festivals such as Herdanza in Santiago de Compostela (2017), or monographic workshops with people such as Janusz Subicz in Barcelona (2016). She participated in the staging of the play Dancers by Sonia Gómez, at the Festival Corpo a Terra in Ourense (2017), as well as attending the festival’s dance workshops. She is constantly training in movement disciplines. She is constantly training in movement disciplines.

She collaborated as a dancer in the video clip Palmira from Fixe trío (2023), Charleston from Alley Stompers (2016) as well as in the single Doce Badaladas, from Alêm (2021), in addition to her participation as a model in exhibition of photography What do you see? by Erdie J.(2015).

At a sociopolitical level, she presents demonstrations through art by way of collaborations with various projects, among which are the action group As ghatas salvaxes and the Colectivo Espazo Corpo.

She made her start in micro-theatre with the micro-piece No derradeiro minuto (Santiago de Compostela, 2010) which will be followed by the dramatic monologue El día después(Granada, 2014). In 2012, she received a grant from the USC for the production of Nefelococigia: a cidade das nubes e dos cucos (Santiago, 2012) within the framework of the university theatre.

Her first poetic musical project is A mazá de Rosalía (Vigo, 2016) with the guitarist David Jácome. She worked with Rui Grenha in two poetic concerts “bic in progre[s]” (Barcelona, 2017), in which the double bass player Alexandre Touceda collaborated; and hacialaluz (Vigo, 2019), with the publication of both poetry books and the recording of an album in which he had the collaboration of Rubén Fernández (vocals), Ricardo Díaz (double bass), Javier Pereiro “Gdjazz” (trumpet) and Xis Trío.

She makes literature as a means of expressing emotions and social criticism. She combines poetry and stage, navigating through hybrid genres, with performances such as Poesía performativa (Vigo, 2017), Vísceras Poéticas (Mandín, 2021) or Volátil(Cariño, 2022). He is working on a new micro-format piece with video-creation, Miña pequena, selected for the V Festival Pezas dun Teatro do Porvir (2022), which brings the micro-story Manaus to the stage.

She was recently awarded with the dance micro-theatre piece Monólogo para corpo en movementoin the Festival FIOT (Carballo, 2020), for her micro-tale Manaus in the contest against gender violence (Ribadavia, 2020) and for her calligraphic poem Bromioin the I Calligram Competition Constanza de Castro (Cospeito, 2021). She is about to publish her first novel: Sem grana e sem frescura which was mostly written under the cover of the Zona C 2022 literary residencies organised by the Auditorio de Galicia in the Concello de Compostela. Author of the poetry books b/i/c/m.o.r.d.i.d.o (2017, Ed. Carena) and Hacia la luz: poesía, sonido, imagen(2019, Ed. La Fábrica de libros), and DSM o Disfraz de tigre (2022, Ed. La Fábrica de libros), as well as a self-published fanzine called Un fanzine poético.

She participated in poetry festivals such as Keruac (2018) or the Festival Nun Local (2018) with poetic interventions, as well as various events such as slams, recitals, vocal improvisation jams, etc. She was part of the project Sinerxias: Performance colectiva de improvisación artística.

She was subsidised by the AGADIC in 2021 for the production of the contemporary theatre play Lara Hierro (Rianxo, 2022), of which she is the author, director, producer and performer. In this year, 2023, she receives a new grant from AGADIC for her next dance theatre piece: Penélope: destecendo o vínculo.


Zigzag Diario – crtvg

Interview – Lara Hierro

Magazine Erreguete

Article – Monólogo para corpo en movemento