TIME

2005-2014

Series of performative exercises in which I explore the alteration of time in the development of an scenic action, the alteration can be found in the narration, the sound or visual effects of the piece, according to the peculiarity of the time explored. The goal was to produce an alteration in perception to emphasize the relationship between work-audience.

CALLE (DE LA PROVIDENCIA)

#1109

2014 - Immersive Choreography

The title of the work suggests a choreographic visit to Buñuel's surrealist place, where the confinement is a time loop, and a detonator of relationships. In this choreographic piece, I explored the effect of repetition and the lag of movements and sound to create a cyclical closure, both for performers and for spectators.

In a black box (experimental forum) I delimited a space creating several corridors, in the first one, where the public and performers were located, the first scene was made. In the second scene, one of the corridor walls was moved to reduce the space between the actors and observers. By reducing the space between them as much as possible, another of the walls opened to give way for people to a new space and a third scene, where the piece began again.

Work presented at Black Box,

National Center for the Arts, Mexico

Bachelor on Choreography,

Nacional School of Classic and Contemporary Dance, INBA

PROLEPSIS

anachronies of a script

2013

A story that begins to be told from the middle, with time jumps back and forth. A project that explores how to produce analepsis and prolépsis in a choreographic narrative (rhetorical devices that alter the time of literary narration).

Choreography which quotes to film edition for its porpose, and is based on the script of The Woman Before Roland Schimmelpfennig.

Work presented at Flores Canelo Theatre and Black Box Theatre

CENART, Mexico

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SÍSYPHUS

or of the Eternal

2014 - Immersive Choreography

This is the translation of the structure of a musical fugue, its parts, its compositional techniques and loop repetition. The theme, the eternal journey of Sisyphus, who raises the stone to the cliff to drop it and descend for it, just like the crab canon that, to resolve, returns to the starting tone, giving the feeling of a sound of perpetual continuity.

The progression of the fugue is expressed in the character's body, tripled and out of phase, and in its variations of rhythm, strength, lightness and speed.

Work presented at Flores Canelo theatre,

National Center for the Arts, Mexico

PERPETUUM

MOBILE

2012

Short choreographic exercise based on Alexander Calder's Mobile Technique. The sculptor assembled different objects without welding them, since he found a point where they balanced each other, maintaining a continuous movement. The body can cause its loss of balance but cannot prevent its sudden recovery, as a means of defense. The movements of this exercise seek the voluntary loss of balance to observe the various ways to regain it without stopping the impulses that both efforts provoke.