Marina Otero is still unknown in Spain. His theater was seen in just one performance in the 2021 edition of the Cadiz Ibero-American Festival. He was go crazy, Detached, irreverent and frontal work. Now he arrives in Madrid with this work, but also with his new work. fell in love with me. One is the opposite of the other. The first is revenge. The second is the act of redemption.
He brings his works to the new edition of Madrilen Autumn festival, three weeks of intense activity, in the presence of international names such as Robert Lepage, Wajdi Mouwad, Christiane Jatah or the Portuguese Thiago Rodríguez. A publication that also knows how to welcome creative dance and theater in Spain, as well as South America, like years ago.
Marina walks naked on stage, weak, weak, barely walking. Having just come out of serious back surgery, he created the work from his bed. He is surrounded by five spectacular bodies of dancers. Pick up the megaphone, the space goes black, it blows Requiem for a dream that the Kronos Quartet created for Darren Aronofsky’s film. Marina says, rather shouting: “I have a skull on my shins, spots on my skin, one leg is shorter than the other, my vertebrae lack air, my liver sweats, my clavicles are asphyxiated, my diaphragm is scattered (…) the temporal bone is disturbed, the obedient cerebrum, the obscene nut, the hermit pancreas , a silent ear, a mount of Venus on another planet, a self-destructive anus, a disorganized parietal bone, a disturbed occiput, a perverted gluteus minimus, an obsessive major, a skeptical heart, a murderous sphincter…”. The light returns to the stage, the music continues, the dancers scream in extreme, hyper-physical dancing to the point of exhaustion.
As the scene ends, Marina says to the stage manager: “Play again and improvise.” The dancers obey while the dancer shouts “make me laugh” And sex hits repeatedly. We are at the core of this creator’s theater, born in Buenos Aires in 1984. “This work is revenge against men. Women should always be condemned to be ugly or beautiful, we were never judged by anything. Therefore, my role in the work is to dominate, to colonize these bodies. But this is a role that opposes man to woman, it is created out of weakness. Female dominance has always been associated with being strong, having a nice ass, being hot. In this work, it is the opposite, from a fragile body, not at all powerful, it dominates, it is revenge”, Otero told the newspaper.
The above scene recreates another from the previous work, Andrea (2012), Otero’s first creation. A project started with him, which continues to this day. An endless project where this creator is at the center. For years, Marina has offered a scene in the independent scene of Buenos Aires, where the body reigns extremely, painfully, on the border, hence the serious injury. Just look at it video Andrea and the fall dance to understand the degree of violence done to the body in Otero’s dance.
But at the same time, his proposal is biographical theater, in the realms of what we now see as autofiction: “This work is part of an eternal project in which I am the object of my investigation: most of all, because I. I like to be talked about… and if I don’t talk, who will…? Who will inflict my narcissistic work on the body without seeing the mango? What body is going to tell my life before I die? Only mine,” Otero says at one point in the play. A theater made of pain, seeking the light born of self-destruction, knowing that every act of self-mockery is also a desire for love, for consolation. A narrow, lonely road. The way Otero shows from the distance of a broken, adult, who looks at his childhood, when he danced and choreographed at his grandfather’s house, and looks at himself now after so many wars, after so many years, after proposing on stage, trying to commit suicide, fighting against everything, hating simple and kind , as if it were treason. A way that has the shameless ability to say in a moment, “Look how I am. I was heavy, not marketable, it’s pure tension from the desire to please. I just want them to love me because I don’t love myself.”
for that throb
Start the game with a song I love you One of Sandro’s great songs, playing that autochthonous Argentinian sample that sounds like a cross between Nino Bravo and Elvis. A figure that is not so well known in Spain, but is a pure talisman there. Sandro crosses generations, from the sixties to the beginning of this century, when the singer continued to perform concerts attached to an oxygen cylinder. Was scenic animal Overwhelmingly scorned as “fat music” (confused), but has songs full of depth and high melodic composition. He is a good example I love you.
There are performances that uniquely follow the musical theme. The song reigns in the work and at the same time the work discovers the layers of sadness it contains. are fed This is what happens in this strange work of Otero. A work that is not perfect, that has some downfalls in some scenes, but that Otero leads with a firm hand to an ending that is as beautiful as it is sad. An ending where sadness reigns, which is also a tragedy. Otero becomes a tired queen there, the public sees a person who has offered himself for years, at the same time harming himself, sees an Argentine named Marina, because her grandfather was a non-commissioned officer of this body, perhaps the most repressive. Of that country’s dictatorship, “my name is the anchor I carry,” he says on the show. His body carries his own and his family’s stories. The public attends the final scene a Mrs With his faithful decree avenged, Sandro continues to play, the air charged with dense loneliness, with grief that Otero holds with distant shoulders, and with all the beauty that grief can give.
Now let’s talk about love
go crazy This is a large format work that allowed Otero to expand his horizons. With him, Latin America and Europe opened up for him. It premiered at the Buenos Aires International Festival before the pandemic. It was the first time I had money to produce. Before, works as Andrea or Remember 30 years to live 65 minutes (2014), they worked hard, in impossible Buenos Aires, doing more than ten Pilates classes a day, and found loopholes so they could explore, rehearse. with go crazyEverything changed, articles labeling him as a punk dancer, invitations to Chile, France.
In the middle of the pandemic, Otero didn’t know how to continue – “I always find it very difficult to break away from the previous work, more damn, There are works that are revealing, works that mark before and after. This part changed my way of thinking, feeling, seeing the world,” Otero admits. And he decided to contrast. “I don’t want to look at society,” he told the playwright Martín Flores Cárdenas, with whom he decided to work for a new production. “You don’t talk to me either,” he answered. So it began, in the middle of the pandemic, between negotiations and meals, to create fell in love with meA bright, small, unusual piece with rhizomatic text and great dramatic tension.
proposal fell in love with me He is sharp. For three quarters of the play, Otero sits in the middle of the stage. He will not look at the public. yes inside go crazy The word is spoken, shouted, action reigned, in this new work silence will do it. Now that Otero can dance after his injury, he decides to stay reptilian, anyway, without it. The entire text will be projective, with a slow, cadential rhythm that will encourage the audience to read, a rhythm that will be the emotional metronome of the piece. Finally, Otero, who has already recovered from his injury, will dance. Punk dance, dedicated to the limit of expressiveness, a dance that is a pure attitude to form. The creator is included fell in love with me Combining a sober, geometric, almost perfect work with a true, authentic speech, despite the complexity of this speech, based on a text of great formal quality.
text fell in love with me It is a layered text, both self-referential and reflective, analytical, analyzing through refraction and association, where Otero speaks from his present. In the dark, Otero opens up, reflecting on the inability to love, the constant labor of pain, the violent family history that he inherits. She quietly recounts her decision to come to Madrid to be a migrant for a better life, but also to escape from her own violence, from herself.
And this biographical text is joined by a reflection on the market, selling in Latin America in Europe. He thinks about the importance of his theater, of working with his life, of selling it. “I will take advantage of the fact that it is fashionable to talk about the colony and make myself poor,” he says with a temper of incorrigibility. Otero combines themes: market, exhibition, migration, movement, dance, violence, love… and in the background of this text, Otero talks about a man who always worked from pain, who never knew peace, who never loved, who wants to love and wants with this new body After the operation, learn to dance without spoiling. Learn to work without violence. Life and work are inseparable, “If I don’t dance, anger will destroy me,” the lyrics say.
Thus, paradoxically, or not so much, Otero will dance to the song of the killer, singer of the Argentinian rock band, Drunked, ‘Poor’ Alvarez, who after shooting another person dead in a street fight, told the press: “I was the one who shot. I’m not here to testify. I’m here to tell you what happened. I killed him because it was between me and him. Any animal would do the same.” After a beautiful text, a redemptive, Cartesian and poetic reflection, wanting to establish a different relationship with his body and the theater, Otero dances like an animal. Dance to the extremes in search of peace, dance to what has not yet been conquered. This is Otero’s dance.
The lady arrives in Madrid with her heart in her hand in search of the origin of the pain, with the desire to be reborn and at the same time not to give up. When asked if he will ever be able to work without starting from pain, he says with twinkling eyes: “I wish, I wish, but I don’t know if it’s possible.”
Source: El Diario