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Presence and disappearance
The empty stage was understood as the place for the actor’s appearance at a time when appearing was a condition of acting. Presence, and not emptiness, constituted the central value in the conception of artistic theatricality. And the value of the presence was accentuated in the mid-twentieth century as a guarantee of authenticity and ethical…
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The Gold Crevice
Mapa Teatro’s latest fissure speaks of a faraway crevice that is still open today, a place of desire and exploitation, ingenuity and brutality, resistance and oblivion. Fiction is to the fissure what gunpowder is to the crevice: it cuts through the surface to make the hidden visible. The act itself produces a narrative that might…
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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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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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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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That space that opens up before you…
where everything turns. Encounter with La Ribot English version of the text: «Ese espacio que se abre… donde todo está girando», in SÁNCHEZ, J. A. y CONDE-SALAZAR, J. (ed.) Cuerpos sobre blanco, Ediciones de la Universidad de Castilla-La Mancha, Cuenca, 2003. La Ribot: Before I talk about Still distinguished, I would like to briefly sketch out…