ValeriaAndradeProaño/Sujeta a Cambios
embodiments-indisciplines
YEAR 2005
FORMAT Staging
CREDITS script, choreography and performance: Valeria Andrade (full technical sheet at the end of the script)
PERFORMANCES Premiere, Teatro del ocho y medio, Quito (2005) · TRES EN DOS EN UNO, Teatro Variedades, Quito (2007) · FITEQ-G, Teatro México, Quito, Mention in the search for language (2010) ·
I start from the idea that things re-occur in a space where the body inhabits in the form of mind: memory.
They re-occur as fragments of memory that are held, sometimes at will, other times without desire.
They are held as anecdotes that turn into de-multiplied moments of one same subject, in the chain of images that signify it.
Everything that here becomes act, everything that appears and everything that happens, has been apprehended in concrete and present forms that organize, disorganize, reorganize, pulsing all kinds of associations. In the midst of each sign, another state, figure, place is engendered, always riddles.
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Script
5 marcando ocupado
An accidental opening onto the unconscious void.
9 fustreap
Flight. Moving away in a hurry.
Remove as much as you can.
Vary. It always happens. Swap. Change.
Leave. Free. Let go. Let yourself be caught again.
Lose.
Lose your clothes. Lose what is already done.
3 en medio
Everything I do in a day.
Everything I walk in a day.
Everything I work in a day.
The plants, the spiders, the cats, everything I take care of in a day.
The greatest love of my life, my daughter, for whom I create and recreate the spaces of life.
9 mi amor
...they say that when one leaves, as a constant and more than constant, permanent, it keeps on occupying one side of the bed only. I sleep crosswise, that is, with my head at the upper right end and my feet exactly on the opposite side: at the lower left end. In the case of small people, one cannot speak of ends because everything for us is somehow in the middle...
A desire that, more than longing, is nostalgia for what we imagine could be. Desire is endless, but not the forms of love we know.
8 marcando
The darkest abyss of some dream of dust and antiquity that rests in survival
7 autotrato
If I were to start thinking about how easily the mirror reproduces, creates doubles, it would give me the creeps; but I don't stop to think much about it. I just look at my double, I face myself, I confront myself, I affront myself.
I move away, I go along with the game, it's a game, I enjoy myself. I wobble. I search, I always search, what do I find. I enjoy myself.
I don't know who I am. It scares me. It seems to be just an endless chain of circumstances, I get more tangled. I wobble. I get it wrong. I jump more. I fall into a hole. I fall and fall, although I try hard. I let go a little. I wobble.
It is a hole, an interstice. I hardly enjoy myself anymore. Where I am now I get lost. I touch myself, I think I'll be right back. I hope so. They are waiting for me, yes, I think I'll be right back.
0 use me
The unfinishable creation of the spaces of existence that reproduce and sustain life: care.
8 ¡qué se calle!
It is the extreme bodily practice of crossing a street in my city.
0 ocupado
What speaks about me without my knowing it. An invisible thread that tangles me in repetitions that can only be seen from the smallest corner of one of the eyes.
8 nada que ver
Every day deciding in the face of the contradictions embedded in circumstances.
Taking nothing for granted.
Demolishing the stone you are standing on.
Am I myself as I appear to you?
1 el fin
Technical sheet
Script, choreography and performance: Valeria Andrade
Costume and set design: Dayana Rivera
Audio: Santiago Paladines, Jorge Espinosa
Lighting: Amaranta Pico, Vilmedis Cobas
Graphic design: Pedro Cagigal
Photography: Diego Bravo
QUITO-2005