The proposal of Teatro Sur, that celebrates the erotism and free sexuality, comes back on January 18 at Santiago a Mil Festival. This melting of arts and dissents pose a new interpretation of the sex collective act, defining itself as not binary and independent of the patterns of established genres.
“We will only see human bodies” is what I can hear behind me before taking a seat in room B1 of the CGabriela Mistral Cultural Center (GAM). The space is large and limited by the chairs and benches of the public, all occupied by the audience, who hold fans provided by the organization to refresh themselves. But also, after paying attention, the interpreters of the work are sitting, naked, waiting just like everyone else to close the curtains to start the work. There are also two mysterious figures in the middle of the scene, motionless, who, after turning off the lights, change their black robes for red and begin to direct a kind of ritual.
Born from a collective investigation into the concept of orgy, the assembly directed by Paula Sacur and Ernesto Orellana seeks to address this issue, considered taboo to many, from an aesthetic and philosophical point of view inspired by “the orgiastic pagan Greek and Pre-Columbian celebrations, in postpornography, the sadistic and imaginary pleasures of hell in which sodomites and prostitutes were incinerated “, affirm its creators.
Based also on the idea of ”if there is no sexual freedom, there is no political freedom” of the Bolivian feminist activist María Galindo, Orgiology poses to polygamy as a way to get rid of the patterns imposed by our society, those that limit our wilder desires. That can be seen in this first scene, where these two red shadows remain in the middle of the stage, while other figures in black robes struggle with their own bodies to get rid of their bonds.
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Below you can see different bodies, with different shapes, colors and movements. They explore each other one, two, three times. They investigate, touch and separate to meet again in a dance that seems to have no climax. They do not seek to annoy the public, rather to naturalize them, to assume the differences between them and to show them as human bodies that seek their own emancipation through sexual means.
The participants of the ritual defy the passions and question what we know as sexuality in Chile, a country characterized by validating the conservative, macho and heterosexual in human relationships, and that little by little their society has been opening to new possibilities and realities.
The “transscenal” proposal, as defined by its authors, does not only address the exposure of different bodies and the possible “morbidity” of seeing how they interact with each other. It goes much further: it seeks to decolonize us from Eurocentric history and from the sinful idea of bodies, qualified as forbidden and hidden. It offers symbologies of a group sexuality, open and disorganized, where the same concepts overflow their definitions, like the idea of gender. Rescue an ancestral rite that celebrates erotic pleasure, fecundity and cosmic nature, ideas very far from what sex can mean in our postmodern society today.
The characters fall to the floor, exhausted. The lights, which once lit in red and white tones mixed with the darkness of the room, now reveal the faces of the public. Some applaud fervently, others still have a puzzled face. Little by little they decide to leave the place, not knowing if to wait for the seven bodies to leave the scene or if that is also part of the performance.
They keep quiet, with their eyes open, listening to the comments of all the attendees. Some say goodbye or thanks, while others give their impressions. Finally, that comment heard before starting this trip was right: we will only see human bodies, in their maximum humanity, free of all construction.
Directed by Ernesto Orellana and Paula Sacur
Interprters-Authors Georgia del Campo, Cristian Hewitt, Irina Gallardo, Andrés Millalonco, Francisca Espinoza, Alexandra Miller, Nicolás Sandoval
Visual integral Design Jorge Zambrano
Music by José Miguel Candela
Theorical Advisor Cristeva Cabello
Illumination Fernanda González
Technical Support Emmanuel Henríquez
Layers Juana Diaz
Fluids Camilo Saavedra
Audiovisual Collaboration Waldo Salgado
Production Daniela Moraga
Photography Paz Villarroel