WORKS

200 BLOWS OF SERRANO HAM
(2017- 2019)

 

GUSTAVO GARZÓN, A FAMOUS ACTOR USED TO WORK ONLY FOR MONEY IN RETURN, GETS IN TOUCH WITH MARINA OTERO, AN INDEPENDENT THEATER DANCER HALF HIS AGE, WITH THE ILUSION OF MAKING A PLAY TO BEAT HIS BOREDOM. THE DANCER ACCEPTS HIS PROPOSAL AND BECOMES HIS DIRECTOR, HOPING IN SECRET THAT BECAUSE OF THIS FAMOUS ACTOR A CROWD WILL COME TO SEE HER, TICKETS WILL BE SOLD OUT, AND BY WORKING ON SCENE SHE WILL FINALLY MAKE ENDS MEET. 


WHAT  WAS ORIGINALLY A PLAY ABOUT GUSTAVO GARZÓN'S LIFE BECOME AN IMPOSSIBLE ENCOUNTER BETWEEN THEATER AND PERFORMANCE, ART AND MONEY. 
ALL IN ALL, A PLANETS CLASH IN WHICH THE FRICTION BETWEEN "ON" AND "OFF" WILL LET THEM BOTH "OUT".

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BUENOS AIRES INTERNATIONAL FESTIVAL, FIBA 2019.

CHACAREREAN TEATRE, BUENOS AIRES 2019.

RAFAELA  THEATER FESTIVAL 2018, SANTA FE , ARGENTINA.

3 NOMINATIONS PREMIO TEATRO DEL MUNDO, 2018.

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REMEMBER TO LIVE
 

REMEMBER TO LIVE IS A PROJECT CREATED BY MARINA OTERO BASED IN THE CONSTRUCTION OF AN ENDLESS PIECE ABOUT HER OWN LIFE. AS HER LIFE GOES BY AND CHANGES, THIS WORK IS TRANSFORMED AND IS CONSTANTLY BECOMING DIFFERENT DRAFTS.

 

SO FAR, SHE HAS CREATED FOUR PIECES: ANDREA (2012), REMEMBER 28 YEARS TO LIVE 50 MINUTES (2015), REMEMBER 30 YEARS TO LIVE 65 MINUTES (2015).


AND AT THIS MOMENT, SHE IS WORKING IN HER UPCOMING VERSION: FUCK ME IN THIS LIFE.

 

REMEMBER 30 YEARS TO LIVE 65 MINUTES
(2015 – 2019)

“IT HAS BEEN TEN YEARS AND THIS PLAY DOES NOT LET ME GO: I KEEP THINKING ABOUT IT, REHEARSING IT, PERFORMING TO IT. MADE UP FROM PIECES OF MY LIFE, PARTS OF OLD PLAYS, PAST LOVES AND THINGS I HAVE KILLED ALREADY, IT IS ALWAYS ONE MORE DRAFT OF THAT INCOMPLETE AND ENDLESS PLAY THAT WILL ONLY BE OVER ONCE I AM DEAD.”

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INTERNATIONAL CONTEMPORARY DANCE FESTIVAL, 2016. BUENOS AIRES, ARGENTINA.
MESS INTERNATIONAL THEATER FESTIVAL 2017. SARAJEVO. BOSNIA & HERZEGOVINA.

SINGAPORE INTERNATIONAL FESTIVAL OF ARTS 2016, SINGAPORE.

BEST DANCE DIRECTOR, YOUNG ART BIENNIAL 2015, BUENOS AIRES.

WATCH AND TALK, THEATRE SPEKTAKEL 2016, ZURICH.

SANTIAGO A MIL FESTIVAL 2016, CHILE.

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HOGAR
(2018-2019)

HOGAR RESULTS FROM THE BODY AS A WORK AND DESTINY WORKSHOP COORDINATED BY MARINA OTERO IN 2017.


“WE ARE SUBMITTED TO DARKNESS, BUT I FEEL SUCH A DESTRUCTION EXTASI THAT MAKES ME FEEL ALIVE.”

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BUENOS AIRES EMPÍRICO FESTIVAL, 2019. BUENOS AIRES, ARGENTINA.INTERNATIONAL CONTEMPORARY DANCE FESTIVAL, 2018. BUENOS AIRES, ARGENTINA.

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NOMOPHOBIA
(2017)

BY DAVID GAITAN AND MARINA OTERO



THE MOBILE PHONE HAS BECOME THE DICTATOR/DESPOT/STRONGMAN IN OUR ORDINARINESS/DAILY LIVES. OUR SOCIABILITY CAPABILITIES ARE SUBMITTED TO THE LIMIT OF THE MAXIMUM CHARACTERS, THE TORPIDITY OF OUR FINGERS, THE INTELIGENCE OF THE DEVICE, OUR AFFECTIONS DEPEND ON THE INTERFACE STABILITY. WE CAN DO MORE IN LESS TIME, BUT MINUTES IN THE THIRD DIMENSION DECREASE AND SLUMP. NOMOPHOBIA IS A PERFORMANCE TO PROBLEMATIZE THE IDEA OF TIME IN THE MIDDLE OF A DESIGNED PARTY.

 

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INTERNATIONAL THEATER FESTIVAL (FIBA), 2017. BUENOS AIRES, ARGENTINA.

 

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MONEYFEST
(2017)


NEOPATHETIC ANTI BIODRAMA OF SUICIDES WITHOUT DEATH, MERETRIXES WITHOUT SEX, NIHILISTS WITHOUT DESTRUCTION, OF THOSE WHO WANTED TO BE BUT NEVER WILL BE.


“WE ARE THE POSTER ON THE WALL OF A BAD DREAM WITHOUT BUDGET. WE DANCE THE 90S THAT LET US IN THIS POSMODERNITY WITHERED OF POSTRUTH, POSTINTELLIGENCE AND CHEAP SENSITIVITY, WE ARE THE ASLEEP SERENITO AFTER DINNER. THE UNBORN AND PSEUDOLIBERAL,TWEETS WITHOUT RISK. WE ARE THE (POS) DESSERT OF POSEQUALILTY: THE POSTMORTEM POSTER OF THE PROGRE POST.”

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PRESENTED IN THE DADA ANTI-TRIBUTE, PERFORMANCE BIENIAL 2017.


 

BAYONESA
(2016)

 

PERFORMANCE TAKEN ON BY WHATSAPP MESSAGES IN DIFFERENT AREAS WHETHER PRIVATE OR PUBLIC IN THE NEIGHBOURHOOD OF CHACARITA. COMBINED ELEMENTS OF INTIMATE THEATER, BIODRAMA, DANCING, IMMERSION THEATER, INTERACTIVE THEATER AND SITE SPECIFIC.

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ANDREA
(2012)


ANDREA DANCED HER WHOLE LIFE TO AVOID TALKING ABOUT SEVERAL THINGS. WHEN WORDS ACCUMULATE, ORGANS MAKE CONFESSIONS. WITH AIRLESS VERTEBRAE, THE TRANSPIRED LIVER, THE ASPHYXIED CLAVICLES, THE CEPHALIC VEIN DISRUPTED, THAT’S HOW SHE IS. ANDREA SPEAKS, CRIES, SMASHES, HIDES, BREAKS, DEFINES, NUMBERS, PERVERTS AND CELEBRATES THE DISGUSTING MORAL WHILE SHE ASHAMES HERSELF.

 

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WORKSHOP

 

THE BODY AS A WORK AND DESTINY 


HOW TO TRANSFORM PAIN IN A MISE-EN-SCENE?
WHAT DO I HAVE TO SAY?

WHAT AM I REBEALING AGAINST?

HOW TO EXTRACT BEAUTY FROM MY DESPERATION?

DO I USE FICTION TO SAVE MYSELF?

WHAT WOULD I RISK TODAY?

 

CONTENT

 

THE PROPOSAL OF THIS WORKSHOP IS TO INVESTIGATE ON THE POSIBILITIES OF CONSTRUCTING FICTION WITH AUTOBIOGRAPHIC ELEMENTS AS A START POINT (STORIES, OBSESSIONS, DOCUMENTS, SECRETS, MEMORIES). THE WORK IS THROUGH EXPERIENCE, RESEARCH AND IMPROVISATION FROM PHYSICAL LANGUAGE AND WRITING.


IT’S OBJECTIVE IS TO INVESTIGATE TRHOUGH THE INSIDE TO CONSTRUCT A PERSONAL POETIC: THE MULTIPLE “SELVES” AS A RESEARCH OBJECT, TO EXPLORE THE LIMITS ESTABLISHED BETWEEN REALITY AND FICTION, BETWEEN PERFORMANCE ARTS AND THEATRE, THE PROPER AND THE FOREIGN, INTIMACY AND EXPOSITION, FRAGILITY AND POWER, IMAGINATION AND MEMORIES, WHAT IS “TRUE” OR “FALSE”. THE BODY AS A WORK OF ART AND DESTINY, THE PIECE AS AN INFINITE RESEARCH AND THE SCENIC FORM SPECIFICALLY AS A COMMUNICATION OBJECT.


 

MODALITY


TWO-MONTHS WORKSHOP | 8 ENCOUNTERS
 

INTENSIVE WORKSHOP | 1 ENCOUNTER - 3 ENCOUNTERS