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In-trascendental narrative of Hong Sang-soo
May intranscendence constitute nowadays a mode of resistance? Intranscendence invites to humility in relation to others and the planet, moving away the temptation to impose criteria based on the application of supra-human truths or existences. But also frees of responsibilities that exceed people‘s capacity or undermine their integrity. Intranscendental intelligence cancels the mystery; it reconciles…
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On/Off Language
Jerusalem Show On/Off Language 2011. Curatorial Text written by Lara Khalid and José A. Sánchez Language is a tool of communication between individuals forming a certain community. It is also a system that creates social reality. Individuals must learn and use a language to enter reality and belong to the community. Language is a tool…
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Research in the performing arts
José Antonio Sánchez (UCLM, Cuenca) y Victoria Pérez Royo (Europa-Universität Viadrina, Frankfurt / Oder) Research is an inherent part of artistic practice. This is the conviction shared by almost all artists who have questioned what should be understood by art research. It is inherent because any genuine artistic process implies a journey towards the unknown…
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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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While we were holding it together
Review of Ivana Müller’s piece (2009) A piece based on immobility, imagination and co-presence. A static image: five bodies distributed in space maintaining each one a different pose, no of them too suggestive. How to build a fable from there? Immobility is the first condition: the players take a pose, which it is apparently arbitrary:…
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Desplazamientos / Migraciones
Un proyecto de María Ribot y José A. Sánchez
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The Continuum. Beyond the Killing Fields
Review of Ong Keng Sen’s piece We know the history of Khmer Rouge and the atrocity of Camboya’s killing fields. But how to place one self in front of a person who suffered torture and survived? How to place oneself when this person does not only exhibit her/himself in her/is sorrow, but in a fictional…
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Le mouvement figé du regard
Sur Treintaycuatropiècesdistinguées&onestriptease, par La Ribot. Publiée dans le DVD du film. Voir le site du La Ribot. Ce film vise à constituer la version documentaire d’un long processus de production qui a débuté à Madrid en 1991 avec le « striptease » Socorro! Gloria! et qui s’est achevé par le déploiement des trois séries de pièces distinguées (1993, 1997, 2000) lors des présentations…
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The gaze fixedly in motion
About la ribot’s Treintaycuatropiècesdistinguées&onestriptease. Published in the DVD contain gin the film. See La Ribot’s site. This film attempts to offer a documentary version of a long production process that began in Madrid in 1991 with the “striptease show” Socorro! Gloria! and concluded with the deployment of the three series of distinguished pieces (1993, 1997, 2000) in successive presentations of Panoramix (2003)…
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Contemporary Theatrical Creation in Spain – Genesis and Context
José A. Sánchez
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Dance starts in the gaze
English versión of the text published in: SÁNCHEZ, José A. y CONDE-SALAZAR, Jaime (eds.), Cuerpos sobre blanco, UCLM, Cuenca, 2003, pp. 63-76. This text is the result of two conversations with Olga Mesa. The first one took place at her place in Madrid, in autumn 2000, in the presence of Ignacio Oliva, who filmed the…
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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…