Los Corderos, bastard theatre
Â Â Â Â Â Â Â Â Â Â by Afra Rigamonti & Jo Sol
In this post-identity age, the suffix “trans”Â has allowed us to redefine concepts and norms that have long made us feel immobile, transhistoric.Â This way, it is common to witness ‘transmedia’ shows, enriched in ‘transcultural’ process, or subvert socio-biological binarism by defining ourselves as “transgender”.
The Los Corderos company has been well able to take rein of this contemporary suffix, mainstreaming its transgressive drama project.
Nevertheless, for years they identified themselves with a more efficient definition when they coined the phrase: bastard theatre.Â All a declaration of intentions one would describe this nucleus of two actors, performers, dancers, singers… determined to interpellate the instinct of an audience necessarily involved in a physical and emotional adventure of this theatre without mother and father.Â Or rather, with so many different parents, it becomes impossible to stay with just one.Â They are everyone and none, and it is here that its power is rooted.
Beyond its uniqueness, moved by the sincerity of its quest, its investigations on origins as well as its resignation in the face ofÂ the expected, taking on all the consequences.
As inventors we try to take into account that no artistic material — be it textual, physical, sound, space,… excludes or takes priority over another.Â In its feedback and consequent evolution is rooted the metamorphisis of our creations, with what surpasses our rational-mental limitations at the time of tackling a theme.Â We create a type of accelorator of creative particles where artistic materials that bounce off one other and thus changing into each other, arriving at impredictable and disconcerting results as much for ourselves as for the public.Â We never know where our work will take us, we try to listen to it as best we can so as to help it along the way, and once it arrives that is when we are conscious of the path.Â There is only one premise, don’t settle, or also, find an other limit where we have never been.”
The Cordera experience
It is reassuring to be in a theatre resounding with the laughter of children.Children and the insane always tell the truth.
It is comforting to know that someone knows how to guide us not only towards a theatre, but also towards the right work of art.Â “ULTRAinocencia” is the case, and it is not about an infantile or therapeutic work of art.Â The major part of the audience are apparently sane adults, whose smiles are refracted by the new scenic experience offered by the Los Corderos company.
It is probable that old and young, crazy and sane, hear the echoes of ambivalence that crosses the cordera experience, in the same way it crosses us as individual existences displacing old paradigms.
Their creators count on this feature, setting about convincing their complicity in the convincing of what nowadays even a child is able to tell between an ambivalent and a a coward.Â As they themselves state between good and evil is where you will find us”, and effectively this is the space they occupy, what all of us occupy between infinity and nothingness.
We all seek to “create something in which to believe, believe in what you create”, and this song, multiplied in audio track, resonating and binding us.
Despite this they do not claim exclusive merits.Â They make sure that everything they do has been done by others beforeÂ It is certainly true, otherwise they wouldn’t be bastards.Â There are many possible fathers and mothers hovering in the memory of the spectator, fascinated by the spectacle of denying words so as to raise the voice.Â Mistrust in choreography which frees movement in action.Â Subordinate the narrative of the creative process, making it an essential part of the drama.Â Pitting absurd power against absurd logic.Â Oppose the power of the absurd front and the logic of the formal.
If Artaud proposed the “brutalising” of language to touch life, today life is based in its own artifice.Â Anything that cannot be named can even beat from the outside walls.Â There are no margins only border fences.Â All the world is in this prison of reality.Â It is precisely being “ultrainnocent” to find the root without knowing that it is another way to beat around the bush.Â To “create something that you believe in, believe in what you create”. Â Moving are the intentions of he who projects around this abyss with confidence that the insane and the children share, those who are at my side at the new Los Corderas experience.
1-4 | El cielo de los tristes
5-7 | ULTRAinocencia