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Published in Revista 0000, Museo Reina Sofía, Madrid, 2009, pp. 8-11
>>Read the text in the file attached
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Y ellas desaparecieron, mientras ellos comían sus cuerpos y bebían su sangre. Bicho, eres un bicho. Banquete-performance, Idoia Zabaleta y Filipa Francisco
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Theatre in the expanded field
Lecture presented in MACBA, Barcelona, 2007, in the context of the series "L'art, el teatre i seu doble", in parallel to the exhibition "A theatre without theatre"
>>Read / listen (spanish)
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Writing as looking. Stage image and cinematographic action in Samuel Beckett's work
Published in Spanish in Julián Jiménez Hefferman (ed.), Tentativas sobre Beckett, CBA, Madrid, 2006, pp. 171-203
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Contemporary Theatre Creation in Spain - Genesis and Context (2006)
The approval of the Spanish constitution in 1978 marked the beginning of the democratic era that provides the framework for the artistic production that will be discussed in this paper. In the world of the stage, the change of regime had major consequences.
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Para poder afirmar la existencia del espacio-platea en los términos que se van a presentar aquí hemos de partir de la idea de que el espacio intersubjetivo no es ni abstracto ni inmaterial sino que es un campo activo de energías que conforma, precisamente, la noción misma de espacio. Es decir, el sujeto no es autónomo, la mirada siempre es devuelta y la escucha siempre tiene una doble dirección.
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Yo en el futuro, dirigida por Federico León, se estrenó en el 2009 en el Kunsten Festival des Arts de Bruselas.
La repetición más exacta, la más estricta,
tiene como correlato el máximo de diferencia.
Gilles Deleuze
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Flying at the ground (2008)
Image and writing in contemporary spanish performance.
Lecture presented in: “Rite of Spring”, organized by La Ribot and Live Art Development Agency. Centre d’Art Contemporain, Geneva, 29th February 2008.
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Publicado en Querido Público.
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Sobre C60, de Sergi Faustino
Teatre Lliure (Barcelona), 2010. Comenzaba el viaje.
Buenas noches, damas y caballeros.
Gracias por venir esta noche.
Estamos aquí para celebrar once canciones,
y también a quienes las hicieron.
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Llámame Mariachi (2009)
[...] The lights go down and a movie is screened. It is a twenty-minute single shot successively filmed by each of the three performers who will later appear on stage. What you see is the image of an interior space, an old theatre. The camera shows the images produced by its movements, its displacements, of an attention that is directed not by the eye but rather by the belly, against which the hand clutching the camera is pressed. Sometimes it shows fragments of the body that is filming: a foot marking time, the left hand pointing the way, a leg, part of the trunk [...]
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