'Nosotras': the present that separates the general public into men and women to blow up the historical past of artwork | Culture | EUROtoday

It is alleged that historical past doesn’t lie, however it’s recognized that it is determined by who tells it. If the act of telling, moreover, hovers round artwork and girls, or ladies in artwork, sin seems by omission. And the invisibility, the null or deformed presence and the veto that girls have suffered all through time underpin Wea dance, theater and efficiency which is introduced on the Pradillo theater in Madrid from April 4 to 7 as stage revenge, a separatist bomb and a throwing weapon by which the general public, divided by gender, will take part within the play in numerous methods: they, in reserved seats within the first rows and even organized on the stage, appetizer included; They, ultimately, as mere spectators of a narrative by which this time they will be unable to take part.

“It is about returning to men the passive and invisible role that women have had in the history of art. Resignify the space that each and every one has had,” explains Mónica Runde (Madrid, 62 years outdated), creator and interpreter of this work along with Inés Narváez (Madrid, 41 years outdated), additionally the architect of the unique thought. “We know that it may not be managed well, that there may be reluctance, but we hope that they will not be too offended,” says Narváez.

The two choreographers and dancers, who on this work and for a while now on the head of the veteran firm 10 & 10, hyperlink dance with video projections, musical composition, textual content, lighting and all of the scenic artifacts out there, will obtain the general public from the door and they’ll distribute to one another with the intention of excluding to level out; to distinguish to empathize. “Let the world of men experience in some way how a woman felt who wanted to dedicate herself to art and couldn't, and then they could and went unnoticed,” Runde declares. What if somebody refuses? “Well, if he sits wherever he wants, he's not going to force anyone, of course. We'll see…” explains Narváez, who says she is prepared for any reaction, even if someone decides to leave the show. “At one point we ask them how they are. How are they doing, what does it feel like to know that you are out of something outstanding. And we are breaking down keys.”

Some of these keys are found in the books that occupy the work table of the creators who have been documenting themselves for two years. A couple of examples: How to stop women writingby Joanna Russ, and Big ones women artists, multi-author publication published by Phaidon Press Limited. However, the main reason for We is a question that Inés Narváez's father, the painter Manuel Narváez Patiño, threw into the air one afternoon in 1995 in his studio, with a 13-year-old Inés drawing at his side. “My father spoke to himself when he painted. And that day I heard him ask himself: 'I don't understand why my female students, with much more talent than many of my male students, don't pursue a career.' Of course, at that moment the phrase just stuck out to me. Then he died when I was 17 years old. And today I would like to present to you all the reasons or reasons why this has been happening. In some way, We “It's the conversation with my father that I couldn't have.” Would you say that much progress has been made since 1995? “I think there is a performance of change, but the change itself I don't see as real. “I see women continually overwhelmed to achieve everything.”

Asked about these inequalities on the planet of dance, Mónica Runde responds conclusively with an anecdote: “When Pedro Berdäyes left 10 & 10 [entre 1989 y 2005 Berdäyes y Runde dirigían la compañía], some institutions considered whether I could continue with the group alone. They didn't know that in addition to being co-director and creator, she also did production work and managed the economy.” Currently, the hard core of 10 & 10 is made up of Mónica Runde and Inés Narváez along with Elisa Sanz and Beatriz Francos, who will not be able to be in this show due to scheduling reasons. They will be accompanied by a list of 1,010 women projected from the 15th or 20th minute of the play (the show lasts approximately one hour) and until long after the stage ends. Names of women in dance such as Agnes de Mille, Lucinda Childs, Trisha Brown and, now from the national scene, Carmen Werner, Janet Novás (best new actress award in the last Goya) or Poliana Lima are part of this scenic list in which Annie Ernaux, Rigoberta Bandini and Madonna also appear.

“Being a woman in the art world is like having to start from scratch almost continuously and prove your worth over and over again,” declares Mónica Runde concerning her presence on the scene, over the past 14 years, as a creator (unrecognized ) of sound and visible areas of dance items. “I feel like I'm not given the opportunity to be taken seriously from those places.” Maybe that's why, in We The artist additionally performs the piano, along with dancing. “Baila Runde, you have to legitimize the show and people have come to see you do that,” Narváez tells him in a rehearsal of the play. Then, Mónica Runde performs a fraction of Petrusa piece from 1996 that overwhelms the scene.

Next May, your entire firm (seven performers on stage) can even premiere on the Teatro de la Abadía Thus spoke Zarathustraa dance and textual content piece with dramaturgy by the Bazo Brothers (created from Nietzsche's authentic textual content) by which we additionally mirror on non-gender and the facility of dance, as Nietzsche himself predicted when he mentioned that about “A day without dancing is a day wasted.”

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