complete web of Matarile
Two meetings with Ana Vallés and the assistance of
Ricardo Santana and Baltasar Patiño to complete the cast
In collaboration with
Azkuna Zentroa - Alhóndiga de Bilbao
City Council of Zaragoza
Municipal Board of the Performing Arts and the Image
Zaragoza 19 - 20 December 2018
in The Dance Center of Zaragoza
Bilbao 21 - 22 January 2019
in Azkuna Zentroa Alhóndiga
RESULTS Of THE AUDITIONS
Audition in Zaragoza Dance Center
Audition in Bilbao Azkuna Zentroa Alhóndiga
RESIDENCES & AUDITIONS ANA VALLÉS
This is not a workshop. Pressed to define it I prefer the term stage, which is more ambiguous.
Like a round, an intervention, a scenic assault in search of complicity.
The assault will last for two days.
It will happen at an intervened space, one which is respiratory, conducive to making hypotheses, connecting divergent ideas and deploying constructive capabilities.
Building situations for what’s deformed, for daring the outburst.
Bodies prepared for assault, the footprint and impression invade and alter.
The movement as appearance, loaded, populated with meanings that we can interpret but not understand.
Between action and representation: “all variations are valid, including this one.”
The duration of attention and alerted senses produces “an awkward fatigue, which is in itself a start.”
Images. Looks. Attitude: the attitude of those who look and the attitude of those who create an image (situation-text-movement-scene).
The question would be: do we need to “project” an image?
Godard says that film (though I don’t know if this refers to images in general) must be done from the camera and not from the projector.
Applied to the stage I understand camera angle as a window that allows us to look. And I understand the projector as a wall-screen that imposes a unique and closed image.
Benjamin speaks of the "aura" as an appearance of a distance. And of the "footprint" as an appearance of proximity. However D. Huberman points out that the aura is born out of a closeness of perception.
There are situations that carry images and can be the genesis of a story (if that interests us, that story).
The image-situation must appear (not seem) inexplicable, outside of language, without any kind of justification. That's why I like the idea of leaving the door open.