I WAS TOLD NOT TO MAKE EYE CONTACT WITH TOM CRUISE

© Rafael Frazão
I was told not to make eye contact with Tom Cruise; is the title of a 2023 article in The Guardian in which Jill Goldston reflects on her sixty-year career as a film extra. She has had dinner with David Bowie, attended the Oscars, and holds a Guinness World Record for the most appearances as a film extra in cinema history, with 1,951 credits to her name. She has been everywhere and, at the same time, nowhere.
This paradox provides the starting point. The figure of the extra is brought to the foreground, shifting our attention towards what exists at the edges, towards what has always been there but has rarely been seen.
The piece asks a simple question: what happens when we turn our attention to what has always remained at the margins? Who decides which bodies occupy the center of the frame, and which are pushed into the background? Rather than offering an answer, I was told creates a space in which to look again at what cinema and perhaps our own ways of seeing has kept out of focus.

Performance and Creation: Elena Carvajal
Accompaniment: Fran Martínez
Dramaturgy: Carolina Campos
Movement Assistance: Anja Röttgerkamp
Lighting Design: Leticia Skrycky
Sound Design: Adrià Juan
Set Design: Elena Carvajal and María Alejandre
Costume Design: María Gutiérrez, Neus Masdeu and Masha.
Video: Rafael Frazão
Production: Elclimamola, as part of the Booster – Creation Support Program
Co-production: Kunstencentrum BUDA (BE), TNT Festival Terrassa (CAT)
Artistic Residencies: La Poderosa (CAT), La Caldera (CAT), Espai Nyamnyam (CAT), Kunstencentrum BUDA (BE)
With the support of: Departament de Cultura de la Generalitat de Catalunya, Institut Ramon Llull, Pla d’impuls a la dansa, La Mutant – Espai d'Arts Vives (ES)
Premiere in 2026 at:
Almost Summer Festival, Kunstencentrum Buda, Kortrijk, and Festival TNT, Terrassa.
© Andrea Casino
Realmente ahora no ya no







© Laura Iturralde
Realmente ahora no ya no explores notions of narrative, invisibility, expectation and how we question the authorship of our own work.
It is a renegotiation of the desire to narrate and to do so through other voices. The story is constructed from the rewriting of a dialogue about the experience lived after an almost theatrical event/performance of a work that ephemerally exists.
With the aim of investigating what remains after having attended the first part of Realmente ahora no ya no , which occurs at another time, in another place, and how we narrate the lived experience. Being this past event what marks the construction of the present.
Far from a stage performance, we witness something that invites us to listen, a sound sequence, a campfire, fragments of a conversation between M, L, N, F, A, L and O.
Written by Elena Carvajal and Fran Martínez
Set Desing Laura Iturralde, Fran Martínez and Elena Carvajal
Ligth desing Laura Iturralde
Soundscape Laura Llaneli
External eye Carolina Campos
Graphic design Maïte Álvarez
Printing LIO (la imprenta oberta) a l´espai nyamnyam (Mieres, Girona)
With the support of Spanish Embassy in Belgium, Bâtard Festival, Wpzimmer, Le Delta, province de Namur, Kunstencentrum BUDA, Centre Culturel Tour à Plomb, NauEstruch, La Poderosa,
Espai nyamnyam, La Caldera
Procrastinación house
Born as work methodology and practice

Times New Roman




Times new Roman explores the surfacing of the area as a measured momentum, a temporal appearance, stating the conditions of unannounced plays. This could be a ship that one day drifts ashore from the extensive sea, or a hickey that left a symbolic mark on the lover’s skin. What does such ‘temporal’ emergence of an area signify and how do we interact with such a behaviour that acts like a phantom in space?
Written and directed by Elena Carvajal.
In collaboration with Sara Sánchez,
Christina Nickel, Sophie Farza, Gitte
Hendrikx and Filip Jakab
Performed by Sara Sánchez,
Christina Nickel, Sophie Farza, Laurie
Borde and Elena Carvajal.
Set desing by Gitte Hendrikx, Elena Carvajal.
Duration 25’
June 2019 Les Brigittines , Brussels
WaltDisneyPain

“The scars usually disappear with time. While they heal, you can use make-up to cover them. There are certain dermatological techniques that help make scars less visible. However, the treatment only improves the appearance of the scar, but does not erase it completely”

Written and directed by Elena Carvajal in collaboration with Paula Almirón.
Duration 30’
June 2018, Centrale For
Contemporary Art, Festival,Brussels