MEXICO CITY (Process).– Traveling dramaturgies is a cycle of live arts carried out at the beginning of 2022 at the Hellenic Theater under the artistic direction and coordination of Itzhel Razo. Now, turned into a book, we can learn about his proposals, along with reflections on performance and the body.
Laura Uribe, in her writing, speaks to us about the body politic from the personal point of view and its immediate context. Violence, as a pivotal factor, and the possibility of talking about it and defending oneself. Art, as a means of political action; the scene, the space to enunciate the body. Antonio Salinas focuses his reflection on how he has named his body, his being, giving it different names in his personal history until he found his own.
Naming, exposing and giving it life on stage redefines the body and fills it with content where critical vision prevails. From performance, dance and theater, the book “Dramaturgies ambulantes”, edited by Editorial Ambulante, includes the texts and the QR of the pieces of the 2022 cycle.
Cuerpos disidentes is made up of three pieces: “Landscape” by Melva Olivas, “Anointed in Diamond” by Daniela Vázquez, with text by Itzhel Razo and Héctor Lara, and “Terregal” by Gabriela Woo. The first two are known by the QR where the performative action is observed on video: “Landscape”, through the dance with the naked torso of women who relax and contract in relation to the other, either at a distance set by thin sticks or in solitude to transmit that impetus of freedom. “Anointed in Diamond”, more effective on video than on stage, consists of several numbers that revolve around education and informal culture that women bring with them. Based on parody and irony, it shows Daniela telling us about her career to prepare to be Miss Universe, her relationship with the barbies and how at the end, with pieces of paper and colored glitter falling on her face, she recognizes the beauty of she.
“Terregal” contains the text of the piece that Gabriela Woo dances and creates and tells us about the domestic violence perpetrated against her mother and her child, and the difficulty of raising awareness about it. The dance, which can only be visualized when seen on stage, runs along the shores of the stage space with a light dress imagining the desert, the wind and the sand.
“Broken or necropower” by Darling Lucas, one of the most powerful pieces in the book, also breaks in to talk about violence against women’s bodies. It is a solid and poetic work, which in its different fragments tells us about cases of femicide, to unite them at the end as a force that drives to name them so that they are always present.
“Meditation” by José Alberto Gallardo and Itzhel Razo is a splendid piece that delves into sexuality and the relationship of a couple. From the self the body is discovered and linked to the other. The solitary confinement through messages, the memory of the bond or masturbation gradually takes shape as an expression that, although the text lacks staged images, clearly establishes this transgressive and brilliant proposal.
Finally, the book closes with the work of Luis Alcocer Guerrero with “Coming attractions (and other memories from de future)”, which puts the very essence of theater and its creators on stage. The man talks to the viewer who gives him his raison d’être and at the same time questions him.
“Wandering dramaturgies, cycle of living arts” is an uplifting book to discover new scenic proposals from performativity, dance and theater that opens new paths for the scene.