The history of reason begins during a night of hallucinations. How to construct a project by deconstructing it? Fifth movement of an uncertain voyage. Where it began and where it’s going. A live study of the memories of certain bodies, the past, the stage and the audience. How can we relate something so that it’s not the story of what happened, but rather of what is still happening and what could be happening? How can we turn this tale into a sustained celebration over the course of three days? How can we turn what we have already experienced, our stories, our families, our tribes, into a place of unknown desires? How can we traverse history through dreams?
Day 1. Celebrate the passing of time.
Day 2. Celebrate the loss of origin and identity.
Day 3. Celebrate what is public.
Thanks to all those who will be assisting us over these three days to celebrate what we’ve been, and also what we haven’t been, but will be; to retrieve our origins and fears, retrieve performance and theory, contemporary art, history and ourselves. And, on this occasion, we would like to thank Kurt Cobain; Andrés Calamaro and the Palau de la Música; René Descartes; Saint Giorgio Agamben; the Gnostics and Averroism in general; Leopoldo María Panero; John Berger; dead people in general and the audience in particular for their collaboration.
We all make capitalism together. TAKE PART!
Juan Navarro has worked since the 90s for companies and directors such as Anita Saij, Dance Lab (Copenhagen), La Fura Dels Baus, Einstürzende Neubauten (Berlin), Roger Bernat and General Eléctrica (Barcelona), Sara Molina (Sevilla) and Marta Galán (Barcelona). From 2000 onwards he became a regular accomplice to Rodrigo García and La Carnicería Teatro. Between 2014 and 2017 he joined the Humain Trop Humain project at the Montpellier National Theatre, directed by Rodrigo García. He has worked with artists such as Jan Lawers, Markus Öhrn, Anna Boralho and Joao Galante, and Luis Garay, among others. He directed Tala, adaptation of the novel of the same name by Thomas Bernhard, as well as contemporary creation shows such as Fiestas Populares, Agrio Beso, Baby, Nancy Spungen, Pequeño preludio (Inmortal), No-one is an island and El Bosque, among others.
Óscar Cornago hails from the field of research in Humanist and Social Sciences. His work, which he develops as part of the Higher Council for Scientific Research in Madrid, specialises in performance arts, aesthetics, public art, and comparative media theory. He is part of the ARTEA research team and has authored numerous publications, as well as running courses and conferences in Latin America and Europe, and curating projects, encounters and seminars in collaboration with artists and creation platforms on the subject of theatricality and community, the economics of artistic practices, archive and memory, and the relation between arts and public environments.
His most recent works include Ensayos de teoría escénica. Teatralidad, público y democracia, and collected works such as O teatro como experiência pública, Hacernos un mundo. Ficciones colectivas, and Conversar, habitar. Perspectivas críticas sobre la idea de participación.
