{"id":4278,"date":"2004-11-02T18:44:00","date_gmt":"2004-11-02T17:44:00","guid":{"rendered":"https:\/\/blog.uclm.es\/archivoartea\/?p=4278"},"modified":"2025-11-02T19:00:38","modified_gmt":"2025-11-02T18:00:38","slug":"atras-los-ojos","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/archivoartea\/2004\/11\/02\/atras-los-ojos\/","title":{"rendered":"Atr\u00e1s los ojos"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><a href=\"https:\/\/blog.uclm.es\/archivoartea\/1995\/11\/02\/mal-pelo\/\" data-type=\"post\" data-id=\"4267\">Mal Pelo<\/a>. 2002<\/h4>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Autor\u00eda: Mar\u00eda Mu\u00f1oz<\/li>\n\n\n\n<li>Int\u00e9rpretes: Jordi Casanovas, Eduard Fern\u00e1ndez y \u00c1ngels Margarit<\/li>\n\n\n\n<li>Textos: John Berger y Mal Pelo<\/li>\n\n\n\n<li>M\u00fasica: Steve Noble<\/li>\n\n\n\n<li>Iluminaci\u00f3n: Ram\u00f3n Rey<\/li>\n\n\n\n<li>Dise\u00f1o de sonido: \u00c1lex Polls<\/li>\n\n\n\n<li>Dise\u00f1o y construcci\u00f3n de la escenograf\u00eda: Ben Heinzel Litchwark, Adri\u00e1 Miserachs y Pep Ramis<\/li>\n\n\n\n<li>Proyecciones de v\u00eddeo: Nina Brugerman, Mari Sempere y Toni Serra<\/li>\n\n\n\n<li>Forograf\u00eda: Jordi Bover, Ferran Mateo y Baltasar Pati\u00f1o<\/li>\n\n\n\n<li>Ayudante de direcci\u00f3n: Cristina Cervi\u00e0<\/li>\n\n\n\n<li>Asesoramiento vestuario: Rosa Soler<\/li>\n\n\n\n<li>Produccion: Compa\u00f1\u00eda Mal Pelo, Institut de Cultura de Barcelona. Grec 2002 Festival d&#8217;Estiu de Barcelona, Sitges Teatre Internacional y Temporada Alta 2002<\/li>\n\n\n\n<li>Lugar estreno: Teatre Lliure de Gr\u00e0cia, Barcelona.&nbsp;Festival Grec<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"620\" src=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-ojos.foto-Jordi-Bover2-copia-1024x620.jpg\" alt=\"\" class=\"wp-image-4295\" srcset=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-ojos.foto-Jordi-Bover2-copia-1024x620.jpg 1024w, https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-ojos.foto-Jordi-Bover2-copia-300x182.jpg 300w, https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-ojos.foto-Jordi-Bover2-copia-768x465.jpg 768w, https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-ojos.foto-Jordi-Bover2-copia-1536x930.jpg 1536w, https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-ojos.foto-Jordi-Bover2-copia-2048x1240.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>While Olga Mesa tried to discover her corporeality through the rebounding of views, involving the audience in this discovery. Maria Mu\u00f1oz uses it as something previous to the performance. Mar\u00eda does not represent her conclusions, she does not set into movement the \u201cfinal state\u201d of the body. Instead, she reconstructs the space of tension that reproduces the conditions under which her search, mediated by the animal\u2019s gaze, takes place. Thus, in clear contrast with what happens in Olga Mesa\u2019s piece, the eyes of Mar\u00eda Mu\u00f1oz do not look directly, they preserve their mystery, they are turned backward.<\/p>\n\n\n\n<p>Mar\u00eda Mu\u00f1oz 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 \u201creflection about distance and love\u201d. 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. Mu\u00f1oz, 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.<\/p>\n\n\n\n<p><a href=\"https:\/\/blog.uclm.es\/joseasanchez\/2003\/01\/15\/eyes-in-movement-2003\/\">Leer m\u00e1s \/ Read more<\/a><\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" data-id=\"4282\" src=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-ojos.foto-Jordi-Bover1-1.jpg\" alt=\"\" class=\"wp-image-4282\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"290\" height=\"205\" data-id=\"4280\" src=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-Ojos.-Foto-Baltasar-Patino.-Prog-Galan2.jpg\" alt=\"\" class=\"wp-image-4280\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"281\" height=\"199\" data-id=\"4279\" src=\"https:\/\/blog.uclm.es\/archivoartea\/wp-content\/uploads\/sites\/323\/2025\/11\/Mal-Pelo.2002.Atras-los-Ojos.-Foto-Baltasar-Patino.prog-galan1.jpg\" alt=\"\" class=\"wp-image-4279\" \/><\/figure>\n<\/figure>\n\n\n\n<p>Textos<\/p>\n\n\n\n<p><a href=\"https:\/\/blog.uclm.es\/joseasanchez\/2003\/01\/15\/eyes-in-movement-2003\/\">Eyes in movement<\/a>&nbsp;\u2013 Jos\u00e9 A. S\u00e1nchez &#8211; 2012<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mal Pelo. 2002<\/p>\n","protected":false},"author":285,"featured_media":4295,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-4278","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-obra"],"_links":{"self":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/4278","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/users\/285"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/comments?post=4278"}],"version-history":[{"count":2,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/4278\/revisions"}],"predecessor-version":[{"id":4300,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/4278\/revisions\/4300"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media\/4295"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media?parent=4278"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/categories?post=4278"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/tags?post=4278"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}