New creation 2011:

Bilbao, MIRÓ # 83
Festival BAD - Hotel Miró
29th and 30th Otober 2011

Created in 1989 by the STI, this solo became an itinerant piece and has now toured various cities on different continents. It has kept its initial idea and structure, but has progressively evolved and updated itself.

A nomad dance that is installed in the rooms of a hotel; a circular structure of 20 minutes’ duration in which the conclusion links up with the beginning and is repeated uninterruptedly 6, 8, 10 times.

It is a solo to be viewed in and by itself, the viewer attending as an accidental voyeur in a scene that takes place inside a hotel room, thereby discovering the intimacy of a protagonist who is not acting for the audience, someone who is trapped in the silence of their thoughts, of their waiting, of their solitude.

Calling the viewer’s attention to small details, framing reality like the filmed sequence of a movie, putting the audience in the same situation as the interpreter.

The interpreter, as an alien, has an uninformed gaze, raw, not linked to the story of the city, to the images they see from the windows.
The viewer sees, via the interpreter’s gaze, their own city, a territory of their own, catalogued but now new, strange.
Viewer and interpreter become at one and the same time the audience of spontaneous actors who randomly pass by, and we see through the windows and allow ourselves to write momentarily the script of their life.

The audience enters a room, alone and often, especially in large cities, not knowing the other spectators. These groups of 10 or 12 viewers share very intimately a scenic experience. A different feeling accompanies them as they exit, after having entered alone and unknown, and after having shared this fiction they know each other somewhat more.

At the time of creating Solo per a habitació d’hotel, what most interested me in the piece was to put interpreter and audience in different but ordinary contexts so as to change perception and turn the established roles of the stage ritual upside down, thereby compromising the interpreter as well as the spectator to participate intimately in the scene without the usual refuge of darkness and distance in which they are normally submerged.

Normally, hotels are bubbles that take us far from the peculiar reality of the places we visit, and we attempt to wrap ourselves in a neutral ambience of continental breakfasts, international television, standard mock-ups and postcards that make it difficult to know if we are in Japan, Italy, Venezuela or Germany. Nevertheless, it is the view from the windows that show us a tiny fragment of the reality which, seen as a framed landscape, is till farther away from us.