a physique like a rustic

A physique like a rustic is not just a habitat wherein we’re contributors in a not unusual territory, and that is going from a circumstance to a rooting with which we finally end up figuring out with that liminal duality that makes that body-country the bearer either one of presences and absences, in a state of everlasting transition on this our non-public and collective historical past.

This comprises the montage “Techniques of (re) present”, by means of the La Vitrina Dance Collective, a creative staff made up of creators, performers, researchers and lecturers from dance and different disciplines, who of their thirty years of enjoy have contributed to the choreographic heritage of Chile and Latin The usa.

Like Tania Rojas Benvenuto (1981), a dance skilled with huge nationwide and world enjoy, who assumes choreographic course, specializing in growing choreographic gear for citizen teams, making an investigative crossover between dance, reminiscence and psychoanalysis. .

Additionally increasing the choreographic paintings, by means of uniting theatricality and the performative, via interpretive parts that suggest to the spectator to penetrate right into a corporeal-spatial territory the place helplessness and loss are embedded in our subconscious, and reverberate as a result of a historical past of disappearances and traumas, which can be mirrored within the phrases of Ileana Diáguez: “Desirous about how absence summons the hunt and creativeness to provide which means to lifestyles.”

On this entrenchment, the ones traumas additionally emerge that on this staging are known from a physique language the place each silence and the intemperate scream are built-in into a valid blanket composed by means of Loreto Ríos, the place the depression of the ostinato, as a composition methodology primarily based In permutations at the insistence of a musical motif, he highlights trauma as a part of that obstinacy, and the place those “ostinati” are repeated, leaving a power all the way through the paintings.

This provides higher drama to what’s carried out by means of a solid made up of Javiera Sanhueza Espinoza, Exequiel Gómez Acuña, Magnus Rasmussen Campos, Francisca Gazitúa Charmes, Kamille Gutiérrez Kuruz, and Javier Muñoz Jiménez, who in combination evoke that tragedy that we feature on our shoulders, the which refers to our fresh historical past, but in addition to the truth of constant to exist.

A state of affairs that unquestionably finds the push of those that give their all on degree. An arrest that, as a important interrogation, alludes to the crosses at the pavement that Lotty Rosenfeld (1943-2020) put in for greater than 40 years, and with which she controlled to pass the borders of genres, historical past and recollections for the reason that physique with an motion of artwork that during a definite manner reverberates in those “Techniques of (re)present”, the place with most effective the vertical a part of the pass, it represents a scar that after once more underlines the indelible echo of trauma.

A stigma to which any other metaphor is added in parallel, which in the beginning turns out – to mention the least – abnormal, however “after a short time”, this mismatch is known as a symbolism expressed in the truth that every persona is dressed in only one shoe. And it’s exactly that lacking object, which embodies the disappearance, the resultant absence and seek, expressed uncomfortably within the limp of every protagonist.

A symptom that anomalously runs all the way through this scenic proposal that from the start is a provocation that proposes contempt as an act of liberation to the whole lot this is contained, compressed and that emerges on this cathartic re(present), which seeks to contain the spectator from the physically emotions, in order that via mirrored image it is going past its personal limits. As a result of as Aldous Huxley said: “Details don’t stop to exist, even supposing they’re omitted.”

Thus, via this paintings that takes the dream as a reference, one understands that the physique is a territory that, taking over the analogy of the rustic, is articulated within the richness of a collective, which co-constructs and co-dialogues with an target market that strikes with that stark detonation of power, which violates that obvious tranquility, main us to a ruin, whether or not we wish it or no longer, it makes us really feel never-ending autobiographical reverberations, each non-public as collective, which worth this re(present) as a track of common reminiscence, the place recidivism and resistance come in combination from starting to finish.