Mal Pelo. 2002
- Autoría: María Muñoz
- Intérpretes: Jordi Casanovas, Eduard Fernández y Ángels Margarit
- Textos: John Berger y Mal Pelo
- Música: Steve Noble
- Iluminación: Ramón Rey
- Diseño de sonido: Álex Polls
- Diseño y construcción de la escenografía: Ben Heinzel Litchwark, Adriá Miserachs y Pep Ramis
- Proyecciones de vídeo: Nina Brugerman, Mari Sempere y Toni Serra
- Forografía: Jordi Bover, Ferran Mateo y Baltasar Patiño
- Ayudante de dirección: Cristina Cervià
- Asesoramiento vestuario: Rosa Soler
- Produccion: Compañía Mal Pelo, Institut de Cultura de Barcelona. Grec 2002 Festival d’Estiu de Barcelona, Sitges Teatre Internacional y Temporada Alta 2002
- Lugar estreno: Teatre Lliure de Gràcia, Barcelona. Festival Grec
While Olga Mesa tried to discover her corporeality through the rebounding of views, involving the audience in this discovery. Maria Muñoz uses it as something previous to the performance. María does not represent her conclusions, she does not set into movement the “final state” of the body. Instead, she reconstructs the space of tension that reproduces the conditions under which her search, mediated by the animal’s gaze, takes place. Thus, in clear contrast with what happens in Olga Mesa’s piece, the eyes of María Muñoz do not look directly, they preserve their mystery, they are turned backward.
María Muñoz welcomes the audience with her back turned to them, looking towards the empty back of the stage, with a microphone in hand she speaks. Through the piece projections, dance, text and sound-space (created life by Steve Noble), will interweave in the construction of a “reflection about distance and love”. A retrospective (introspective) look upon the series of small encounters that tug the time of our experience and inhabit, most of them hidden by oblivion, the space of memory. Muñoz, Nobel and Ramis put themselves at work to create an intermediate space between imagination and glance, light and invisibility, melody and sounding silence, domestic references and nature ones: The light is never blinding nor is the dimness ever darkness, the melodies never complete nor does the sound ever turn off, and the domestic space is just suggested by an armchair and a table, while nature is only alluded by a tiny tree on a plastic pot and the outside images the video brings into the room.
Textos
Eyes in movement – José A. Sánchez – 2012