2024-02-06 12:13:12
Why do we associate a hug and other gestures with a display of interpersonal affection and affection, since there are those who offer them as something to welcome? To what extent is it possible to distinguish their gradations, to be sure that there is a mutual feeling between the two people at play? Why have individuals who have been treated as cis-men been instilled with more taboos regarding physical contact, in relation to those who have been perceived as cis-women?
These and more questions underlie the conceptual framework of touch a manthis is: Julio Ruiz He spends his time having comings and goings as soon as he has the slightest contact with the various roles he plays. Javier of the Assumption throughout the piece. And although sometimes a simple physical contact does not have to be associated with something of greater significance, he has kept his concerns and insecurities contained for a long time, which, in the long run, have become so entrenched that he no longer knows how to translate them, or worse. Still, they lead him to suspect that something is happening to him to worry about.
Here, not only are phobias present towards whatever has been assigned to people from LGTBI+ groups; but also that the cis-heteropatriarchal system is so well structured that in its practices and models of thought, anything that moves outside the margins of the normative is taken as Sinister. Therefore, it is assumed that following the precepts of what is expected entails dealing with “safety” with ourselves and with those around us, regardless of whether acting in contradiction with our inner inclinations is similar to trying to get out of trouble. a labyrinth
Photo: Judith Naess
What’s more, reciprocating one gesture or another does not have to be read as if we are already in the “abject.” It is also not enough to rationalize what happens to us, or try new experiences just to get out of what they call a “comfort space.” No, because that pain and confusion chokes us, and at that point, being related to the “abject” seems the least of our fears. This is why this Andalusian professional does not propose a “solution” as such to all the unknowns that he throws up, that is to say: although it is true that after seeing touch a man one feels that he has advanced in his reflections and sensations at the same time as Julio Ruiz, one ends up trying to catch his breath while wondering, “what now?”…
Without a doubt, life is not enough to resolve such a thing, since although more than seventy years have passed since the onto-epistemological turn that the phrase represented “You are not born a woman, you become one” by Simone de Beauvoir in el Second sexadded to the emergence of queer thought since the eighties of the 20th century, then, from the theoretical/specular to the fact that this is integrated into an individual implies, at the very least, that the society in which he lives assumes the most basic premises. Otherwise, it will not be enough for there to be LGTBI+ referents in which to feel reflected, and the bearers of the most “reactionary” discourses will always be left to respond that these are “exceptions” (as if they were “less human”).
Photo: Judith Naess
Having said the above, I am not going to deny that it caused me tenderness and amusement that Julio Ruiz’s “hands trembled” every time he faced a new challenge, in which he verified that these hegemonic gender discourses in which he has been supporting until now, they satisfy almost no one in almost nothing. And on top of that, there it was Javier of the Assumption like a kind of life-size “puppet” that can be “activated and deactivated”, in order to “practice” how to “touch” the next men she meets: If not even her flamenco tap dancing was enough for her to let off steam or make her “new fantasies” disappear.
In this line, the stage rhythm of this work was impeccableas long as he knew how to keep us as expectant as the character played by Julio Ruiz was: you could feel every sigh and lost look from him…, so much so that I also didn’t miss that there was no music until the second half of touch a man.
Definitely, touch a man It is brilliant, intelligent and Julio Ruiz put it together based on an ability to laugh at himself, which those who have launched into what is called “auto fiction” can take note. Since this is a good example of how make universal the conjugation of intimate experiences and sensations. Furthermore, they appropriated popular Sevillanas, redefining them, so that everything that has been part of our lives continues to accompany us, because “coming out of the closet” or whatever, does not entail abandoning the things that we have always loved.
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