Art and Dance in Dialogue by Unknown

Author:Unknown
Language: eng
Format: epub
ISBN: 9783030440855
Publisher: Springer International Publishing

Collective Creation Through Disparate Processes

For the duration of one year, the multi-ensemble, multi-aesthetic laboratory project Zapata, Death Without End brought together five theatre groups from five different states engaging five deeply diverse aesthetics and objectives, engaging embodied inquiries to explore complexities of collective and personal memories, histories , and temporalities.7 With an open and complex structure of playfulness and community, this project enabled dialogues of community engagement of difference. Embodying concepts of hybridity, plurality, trans-ness, translations, and journeys, the project involved four types of events: (1) multi-ensemble workshops; (2) ensemble-specific workshops; (3) at-distance virtual communication; and (4) public performances. Multi-ensemble workshops were held for a week in the city of Mérida, Yucatán, and in the studio of the organising company La Máquina de Teatro in Mexico City. Throughout these sessions there was a fluidity of coming and going, with variable numbers of participants. As is usual with lab sessions, these workshops were liminal and ritual spaces, in which strangers became friends through embodied praxis. Unlike many arts projects seeking to generate unity through similarity, distinct differences in aesthetic practices and experiences were utilised as key elements for creating community engagement and dialogue. After the in-person workshop sessions, the five ensembles returned to their own communities, where they continued to generate and shape material through live workshops in their home cities. Using virtual technologies (particularly uploading photos taken on personal phones to a dedicated website), the five groups maintained a network of creative practice.

The project culminated in four public performances in March 2015 when all five collectives gathered for a week in the theatre of El Chopo University Museum, Mexico City. Working on the small, enclosed stage, they workshopped and shared their material, structured their scenarios for public performances, and, for four nights, performed two different loosely organised performances for a paying public. Through a flexible yet structured framework of collective participation—comprising fully rehearsed scenarios, improvisational scenarios, and deliberately inclusive scenarios with the public—the performances engaged a politics of invitation by sharing lives through performing palimpsest bodies.

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