22 postraumática > play 01

After the traumatic birth of entering a violent reality, I attended the tragic birth of my first project.

The question was: What am I investigating? Is the thing investigating me, or am I investigating the thing? It started as a final project filled with the uncertainty that the word itself produces and its agonizing nature; from the emptiness experienced by the artist who is about to generate a process for the first time. I questioned everything over and over, as if theory could perform miracles; whether new dramaturgies are articulated by destroying their textual structure; whether trust in words has died and semiosis is redefined, placing its signifiers in the hidden. Confusion in my own occultisms, for at that moment I was only 22 years old. The age my mother was when she became pregnant with me. At 22, concepts unexpectedly emerged around femininity and motherhood as synonyms leading to a non-identity. Speaking of birth and pain as an inseparable experience for mother and daughter. Who educates whom? The intimacy of a vulnerable body, which was mine. So feminized and dysphoric. Ashamed not of itself; but of its birth. Guilty of its own trauma. Violent, capitalist, carnivorous, and detached from a great desire for love and belonging. Still, globally, a double narrative metaphor was established: the juxtaposition between the concepts of life and death or pleasure and pain. Contradictorily, they can happen at the same time. In this work, everything has already happened; both life and death have occurred. Its reception was through a certain surrealist mechanism by exploring the unconscious, externalizing a dream in an almost automatic writing. 22 is in full atemporal fragmentation; for its discontinuity symbolizes the incoherence and absurdity of the reality of time. Small associative/atmospheric sub-worlds are generated without cause-effect intentions. Events that lead to an action where the dramatic tension of the conflict remains unresolved. When I say there’s no story, I mean the absence of a consecutive plot, the stage is just alive through visuality and concept. An anti-structural approach that becomes pure body; through an episodic mechanism of its base conflict: existence - life and death. It was necessary for me to position myself and identify with this concept of BIRTH and generate a collage of references around that DEATH. It is a dramaturgy that has been configured as a map, guiding the staging in the search for coherence between its possibilities and the writing itself; through the self-direction of ideas or various working methods.