MISPLACED DIVAS, MARTYRED ARTISTS, HALF-HEARTED VIRTUOSITY. A SINGER WHO SINGS USING AUTOTUNE, AND STILL SINGS BADLY. Four people interact with the visible mechanisms of a theatre that is a body, delimiting it as a territory of conflict. The performers embody the desire to be something other than themselves, provoking a maelstrom of judgements and identities that breaks everything and celebrates failure. I WANT TO BE A CHEAP COPY OF SOMEONE ELSE, I HAVE A PLASTIC SOUL, WHO CARES. Shallow conversation and endless theoretical discourse are placed on top of each other in interacting layers, giving rise to a split-screen illusion.
Las Nenas (Ane Sagüés Abad and Cristina Tomás Olaya) practice a radical form of professional intrusiveness. They realise the most profound contemporary performance fantasies. You can add any adjectives you like to the description of their project: artistic, transdisciplinary, performative, theatrical, collective, inclusive…They are also defined by a million nouns: they are creators, interpreters, actors, performers, directors, producers, teachers, spiritual guides, leisure and free time monitors, art dealers, public relations agents, reporters. Sometimes they get their hands dirty. If you like, sound and light technicians, but also kind of contemplative in the face of life. They use the word ‘activation’ and ‘artefact’ instead of “show” or ‘play’. At the forefront of theatrical avant-garde. They like to be applauded. Most importantly, they don’t know how to do anything. Yet the audience expects everything from them.
