2023-11-04 15:24:03
After the representation of The Desqueridas the Andalusian actress and psychodramatist, Myriam Osuna, facilitated a forum among the people who have made up the public. In it, we, the viewers, shared our impressions and questions to Carlota Berzal y Maria Cazenavewho enlightened us about what made this creation possible.
Next, Myriam Osuna energized an exercise in which all of us present “gifted” to those who make up the The Decadensia, how we would “dance” is what led us to this dance-theater work. Thus, the dialogue that they introduced with The Desqueridas, in one way or another, it will perpetuate “sedimenting” inside us. Since this piece challenges everyone who continues to deal with the contradictions that are generated in one, since we find ourselves in the middle of a maelstrom in which rejection and incomprehension of the others, with the accompaniment of our closest friends.
As you can imagine, The Desqueridas They explain to us that clinging to “vampire” relationship models is not a matter of “masochists” or people with low self-esteem, but it is possible that behind all of this is our desire to affirm ourselves as subjects by sharing our lives with those who They have seduced us. And just in this process, we learn to adjust our actions and thoughts in accordance with what we find on our path. Of course, many people we have encountered in life will “accommodate” one’s first impressions (as if one had not given his or her part, so as not to get stuck in the past); However, the above is part of the price of socializing with people who need to confirm their own stories to move forward in their daily lives. Something that, on the other hand, we all do to a greater or lesser extent.
Photo: Virgil Shaw
However, “caricaturing” our loved ones involves suspending all efforts at dialogue and negotiation. Which is more serious if it is one of our closest people. That is: it is not by chance that Carlota Berzal and María Cazenave have started this piece by staging a series of disagreements about its contents. Which called for the representation of The Desqueridas to a “limbo”, where it was not known which parts of the text had really happened to each other during the montage; what is really happening at the screening one is attending (keep in mind that, especially at the beginning of the play, they seek the audience’s “approval,” asking them if they are right or wrong in their discussions); How is it possible that a piece that is closed in its dramaturgy and interpretation, they managed to make it seem that what was being staged was happening here and now. Of course, from a most baroque and bizarre multiverse; etc…
Where I want to get to with all this is that these professionals from this Andalusian company found the necessary “doses” so that this piece fits a scheme that refers us to a musical tragicomedy, structured by songs and choreographies that were initially unconnected, with content that would make anyone rethink who they are and what place we have to occupy in the world. In The Desqueridas None of its contents were “diluted,” despite the “mischief” and its “unruly” way of approaching them. Well, Carlota Berzal and María Cazenave use this piece to catharsis several of the episodes in their respective biographies.
Photo: Virgil Shaw
In this line, The Desqueridas They wanted each of us in the audience to feel identified with several of the things they told us, and if that is not the case, at least it acts as a “bridge”, so that we better understand those of us who have not taken oh really. That’s how balanced it is. The Desqueridasas long as it does not intend to give lessons, since It creates a safe space around itself in which one, for a while, realizes that one is not “defective.”, you just have to work hard to achieve the best version of yourself. However, I have the intuition that if one is not “twinned” with someone in this transit, it will be more difficult to affirm oneself as a subject, because we are what we are with and from linking ourselves with others.
Meanwhile, Carlota Berzal and María Cazenave are reappropriating the product of their own wounds, so that in the process of their corresponding healing, they are not “bled to death.” Otherwise, it will be what they did with them that will star in their biographies. Therefore, I argue that one of the most powerful things about this work is that they are representing us, performatively, that The events of the past cannot be changed, but how we manage them is in our hands.
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