The author’s work swings around uncertain fields. We would say necessarily uncertain. The investigation of theatricality as a substantial and differential element of what we understand by “theatre” leads to questioning what we perceive by understanding with the audience and the limits of this understanding. The reformulation of the rules of the scenic game is the initial guideline, the starting point. This fact implies that the rules of the game have already been formulated and that they are established. Therefore, the inquiry does not consist of revising those rules, neither to try to abolish them. The real dramaturgical game will consist in perverting them by forcing their interpretation until they become ambiguous, ambivalent. The two works that we offer are an example of this “perversion”.
After going through a rigorous selection process, five dancers discover that they have to dance for an anonymous voice in an empty room. Locked up there, they must follow his instructions, performing choreographies related to confrontation, seduction, personal dreams … It is a work in which dance and music -although not explicitly- play a decisive role and develop the theme of the relationship between life and art, and between art and power.
PERDUDA ALS APALATXES
In an Athenaeum of a town of any province, a conference on the paradoxes and the space-time walkways is given. The act becomes a practical class on quantum physics when the audience moves to the Appalachians and the lecturer begins a love story with a man she meets in the corridors, in this case, of a hotel in Prague.