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Aesthetics of the body and art of the postmodern era.
She was Guest Professor at The University of Giessen, Amsterdam and Hamburg and participated at MACAPD (L’animal a l’esquena – University of Gerona).
Activity of spectatorship is namely always an antagonistic practice, sometimes with unease, difficulties and discomfort.
So being active in the sense of empowerment, being a spectator as active individual means to constantly negotiate and practice ungraspable differences through which we exist together as equals.
It’s about doing and redoing action, writing and rewriting.Es una obrita de teatro con una mujer en bragas, una voz en off, un retrato de familia ficticio, un difunto, un montón de ruiditos copiados de la realidad, una serie de parejas a punto de enamorarse o apunto de romper, y un final que se parece al principio, pero no en la forma, sino en la mofra.It’s a musical-visual piece that unfurls in several directions and gathers itself up, gathers me up.She or he is the one who seems to be accused of passivity, of ‘merely’ watching, as the one who only receive without any feedback, the one who is not creative and imaginative, who is comfortable, on the border of sleeping, sometimes disinterested, many times bored.There is a strong desire to awaken the spectator, raise her or him out of the chair, out of the darkness and to the light, make her or him active, out of disengaged mode to the engaged one, to enable him that he can actively participate in the construction and meaning of performance with all his senses, not merely watching. However this almost to perfect proportion between seating (on the surface silent and still) passivity and participatory activity (on the surface loud and moving) activity, proportion between two topographical and sensual propositions about the position of the spectator makes me deeply suspicious.