Performance Research vol. 8 nº 4 (“Moving bodies”, december 2003), pp. 92-99
Alcalá de Henares, an old half-ruined church, reformed and converted into a performance space. Three performers come to meet the spectators when they enter the space, empty, “forbidden to sit”. At a transept’s corner, the sound and video control. Somewhere among the pillars that divide the naves, Olga Mesa, the choreographer who looks at. Once the entrance has been closed the performers start quietly their work: measuring the space in relation to their own bodies, surprising themselves over and over by the articulation of the limbs, by the infinite possibilities of watching upon oneself, without ever reaching the state that would lead to the unity of looking and being. Meanwhile Olga Mesa observes. The spectators also observe: bodies at times erect, at times naked, at times laying on the marble floor, or retreating to the remains of the altar, where they search for a intimacy in dialog with a tiny camera. The images of their faces in the intimacy, or those of the bodies in the public space of the church recorded life, camera in hand, by Daniel Miracle.
Some months later Más público, más privado (2001) was presented as the closing of the last edition of Desviaciones, at the theatre of the Círculo de Bellas Artes de Madrid. The ecclesiastic attempt had become by then a theatre piece. However the performers kept on watching. Sited among the audience they awaited their turn to perform. Serenely they would go onto the stage, give themselves up to a solitary reflection and return to their place among the audience, though not for a long time. At a certain moment the four of them (in this occasion the choreographer also performed) occupied the stage and started a game of falls, tumbles, accidents, disturbances and apologies… A bit later, naked, they totally ignored the public’s watch that scrutinised their movements and intentions. Watched even when outside the stage, thanks to a peeping monitor that transmitted images from a handycamera: grimaces, laughs, body fragments, skin. […]
Read the complete text: Eyes in movement