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Poetic devices: dissidence and cooperation
The Argument I will make here will take two themes: crime and communal experience; both ideas spring from Juan Domínguez’s invitation to participate in a conspiracy. All conspiracy requires secrecy; this is necessary to ensure it can take place, since such an act involves allegiances and modes of behavior. We conspire to subvert the established…
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A theatre of the present
An essay on The Words of Others, byLeón Ferrari. Published in The Words of Others: León Ferrari and Rhetoric in Times of War, edited by Ruth Estévez, Agustín Diez Fischer and Miguel A. López, REDCAT / JRP-RINGIER, pp. 61-86. ISBN : 978-3037645086.
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Act, realize, manifest
You are probably reading this text trying to understand what I am trying to communicate, assuming that the words articulate thoughts that can illuminate, raise questions, provoke debates, and even — in an ideal situation — gives rise to dialogs or conversations. In this case you will be reading the text in silence, paying attention…
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The cabinet of events
A playful intervention. 11 cards inserted along the book: (a) The collector’s face, (q) Nautilus’ Memory, (e) Duchamp’s Suitcase, (r) Fake!, (g) The artist’s stomach, (y) I would prefer not to, (x) The most tatooed man in the world, (e) Mr. Disorder, (t) Memory machines, (d) With a loud voice, (z) Anonymous deaths.
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In-definitions. Forschung in der performativen Künsten (2013)
Das Forschen aller, 2013 Este texto es resultado de dos conversaciones mantenidas en Madrid, durante el mes de noviembre de 2011 por Victoria Pérez Royo, Cristina Blanco y José Antonio Sánchez. El objetivo fue plantear una reflexión sobre la investigación en artes partiendo de nuestra propia experiencia en el ámbito de la práctica artística, la…
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Dramaturgy in an expanded field
Text published in Rethinking Dramaturgy: Errancy and Transformation, CENDEAC, Murcia, 2010, pp. 39-56 The validity of the performing arts as a medium is related to their resistance to be fixed. Contrary to what occurs with literature and cinema, per- formance practices cannot be converted into closed texts. Hence the impossibility of documenting them. Hence the frustration of…
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Contemporary Theatrical Creation in Spain – Genesis and Context
José A. Sánchez
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Distinction and humour
Humour and distinction are two characteristics we see in the distinguished pieces. These qualities arise from the La Ribot’s own manner and nature, by they also refer to avant-garde art of the last century, which has been a constant source of inquiry for there. Distinction refers explicitly to Erik Satie’s composition, Three Distinguished Waltzes of…
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La distinction et l’humour
Claire Rousier (ed.), La Ribot, Centre national de la danse, Paris, 2004. Ouvrage collectif. En coédition avec Merz/Luc Derycke, pp. 29-38. Il est impossible de comprendre le projet des Piezas distinguidas sans recourir à la composante humoristique qui le sous-tend. Mais l’« humorisme » n’est pas un style, ni un élément avec lequel n’importe quel créateur pourrait jouer librement ;…