22 postraumática > play 01

After the traumatic birth of entering a violent reality, I attended the tragic birth of my first project.

The question was: What am I investigating? Is the thing investigating me, or am I investigating the thing? It started as a final project filled with the uncertainty that the word itself produces and its agonizing nature; from the emptiness experienced by the artist who is about to generate a process for the first time. I questioned everything over and over, as if theory could perform miracles; whether new dramaturgies are articulated by destroying their textual structure; whether trust in words has died and semiosis is redefined, placing its signifiers in the hidden. Confusion in my own occultisms, for at that moment I was only 22 years old. The age my mother was when she became pregnant with me. At 22, concepts unexpectedly emerged around femininity and motherhood as synonyms leading to a non-identity. Speaking of birth and pain as an inseparable experience for mother and daughter. Who educates whom? The intimacy of a vulnerable body, which was mine. So feminized and dysphoric. Ashamed not of itself; but of its birth. Guilty of its own trauma. Violent, capitalist, carnivorous, and detached from a great desire for love and belonging. Still, globally, a double narrative metaphor was established: the juxtaposition between the concepts of life and death or pleasure and pain. Contradictorily, they can happen at the same time. In this work, everything has already happened; both life and death have occurred. Its reception was through a certain surrealist mechanism by exploring the unconscious, externalizing a dream in an almost automatic writing. 22 is in full atemporal fragmentation; for its discontinuity symbolizes the incoherence and absurdity of the reality of time. Small associative/atmospheric sub-worlds are generated without cause-effect intentions. Events that lead to an action where the dramatic tension of the conflict remains unresolved. When I say there’s no story, I mean the absence of a consecutive plot, the stage is just alive through visuality and concept. An anti-structural approach that becomes pure body; through an episodic mechanism of its base conflict: existence - life and death. It was necessary for me to position myself and identify with this concept of BIRTH and generate a collage of references around that DEATH. It is a dramaturgy that has been configured as a map, guiding the staging in the search for coherence between its possibilities and the writing itself; through the self-direction of ideas or various working methods. Thus, between the idea and its representation, an internal contradiction arises again; and it is the contradiction between the imagined ideas and the materialization of such ideas. What is essential in imagination and at the beginning of writing was not always feasible or interesting on stage. The task of creating by destroying to recreate from the destroyed is not simple.