Country Chile

Discipline Dance | Performance

Recomended for +16

Duration 60 minutes

Language Spanish

Dates 12, 13, 14, 15 y 16 de enero, 19.30h

Keywords Gender | LGBTIQ | Platea 19

Warning Involves smoke and nudity

A provocative title that befits a very high-quality artistic production

Radio Cooperativa

The word orgy challenges us: it’s scandalous, provocative, seductive and stimulating. For ancient civilizations, an orgy was a ritualistic and common group act that celebrated the joining of body and animal instinct, erotic pleasure, fertility and cosmic nature. Along these lines and according to the roots of the original Greek word - which means ‘state of agitation and passion’ - directors and researchers Paula Sacur and Ernesto Orellana bring Orgiología, a ‘transcenic’ creation to life, a fusion between the performing arts and sexual dissent activism that aims to free this concept from the derogatory implications it acquired during the Middle Ages and reinstate its celebratory and primitive nature. Uniting contemporary dance, performance and theater, this performance is an attempt to shed our Euro-centric past and sinful bodies and go back to the orgy-filled world of certain pre-Columbian cultures to celebrate freedom and reflect the symbology of a sexuality that is open, collective, rare and messy.

| Multimedia

Direction

Paula Sacur

(Chile)

Paula Sacur is a somatic and theatrical researcher, performer and teacher of contemporary dance. She has performed with several dance companies, including Grupo Espiral, Jose Vidal & Co. and Elizabeth Rodríguez. In 2003, she won an Altazor award for Best Dancer for Pichanga by Jose Vidal. She has also carried out theatrical research pieces such as Costamarfil (2007-18) and Living Paradiso (2008-11). She currently runs the program to qualify as a Somatic Movement Teacher (SEM) at BMC ® (Body-Mind Centering) in Brazil.

Direction

Ernesto Orellana

(Chile)

Ernesto Orellana is a director, playwright, teacher and theatrical researcher at the University of Chile. He’s a CUDS (Utopian Group of Sexual Dissidents) activist and director of the Teatro Sur Company and the Eskuela Itinerante de Teatro group. He’s the creator of transcenism, a style that perversely mixes together several different types of theater with political ends. He has researched political theater, action arts and activism based on political violence and Latin American sexual dissidents. His plays have been performed in Chile, Germany, the United States and Cuba, where his play Inútiles won the Villanueva award from critics for Best Foreign Show in Cuba in 2017.

Director Ernesto Orellana and Paula Sacur Performers-creators Georgia del Campo, Cristian Hewitt, Irina Gallardo, Andrés Millalonco, Francisca Espinoza, Alexandra Miller Visual set, costume and lighting designer Jorge Zambrano Musical score José Miguel Candela Theoretical consultant Cristeva Cabello Lighting assistant Fernanda González Capes Juana Diaz Fluids Camilo Saavedra Audiovisual collaboration Waldo Salgado Producer Daniela Moraga Photography Paz Villarroel

  • Orgiología is a ground-breaking piece that dares to deal with a topic that is usually taboo. Orgies as a concept are explored from a philosophical and esthetic point of view, inspired by “Greek, Latin and pre-Columbian pagan celebrations involving orgies in post-pornography, as well as by sadistic pleasure and the collective imagination of hell in which sodomites and prostitutes were burnt at the stake”, say its creators.

  • This play came about as a result of their collective research into different disciplines based on the concept of an orgy, with a play emerging “that questions how we observe and inhabit our sexuality using our corporeality. The emphasis is on celebrating group, not binary sex, taking important on-stage and esthetic risks in a piece that deals with and investigates bare skin and organic corporeality”, explain its creators.

  • Naked bodies are part of this piece, not to shock but as a way of normalizing and naturalizing them, assuming multiple sexualities, physiognomies and corporealities in an orgy of differences.

  • The play is driven by activism, using "discourse that calls for the emancipation of bodies in a sexual way”. As the Bolivian feminist activist María Galindo says, the idea is that “if sexual freedom doesn’t exist, political freedom doesn’t either”. That is why polygamy is suggested as a way of “freeing oneself from the sexual and cultural behavioral patterns both imposed and inherited from traditions that for centuries have dominated our desires and morals”.

  • This production aims to go beyond the notion of gender to understand bodies further than what is specific about them and how they are classified. “I wasn’t intending to work on gender specifically, but rather on ‘un-genderizing’ things”, explains Orellana who, together with Paula Sacur wanted to question the sexual norms that imprison bodies and their sexual freedom through performance and dance.

  • This production is a continuation of the questions that Ernesto Orellana has been asking since 2011, the year in which the Teatro Sur company was created. “We identify with the problems of outcasts, of oppressed bodies and how power is involved in social relationships”, the director has said. In Inquieto (2011), the body was explored from a sexual minority approach; in Ensayo general (2013), torture and human rights violations were used; in Los justos (2014) appeared the body of a terrorist who sacrifices himself for a cause and in Inútiles (2016) bodies from different social classes were used together with the issues of racism and immigration.
  • Transcenism. Director Ernesto Orellana gave this name to the style he created that mixes together different disciplines with political aims, combining performing arts and sexual dissident activism in a single production.

  • Performance. An avant-garde art form in which the artist’s body takes center stage and the play itself is made up of its actions, normally combining several different elements, such as visual arts, music, dance and theater. It is one of the art forms that transformed art in the middle of the twentieth century.

  • The term ‘orgy’. According to its Greek roots, this term means ‘a state of agitation and passion’. It allowed the group to investigate this concept bodily, physically and through breathing. A study of different bodily positions using different images from pre-Columbian cultures was added, particularly those from the Mochica culture in north-east Peru.

  • María Galindo (1964). A Bolivian anarchist-feminist, she co-founded the group Mujeres creando, which, since 1992, has brought issues linked to machismo, femicide, homophobia and abortion to the public’s attention using performance and other interventions. In 2017, she published the book No hay libertad política sin libertad sexual, an investigation into homophobia in Bolivia’s Legislative Assembly.

«A collective creation that takes risks and writes a bodily calligraphy (...), a transcenic piece that transgresses the borders of theatrical knowledge»

Pousta

A provocative title that befits a very high-quality artistic production

Radio Cooperativa

«A collective creation that takes risks and writes a bodily calligraphy (...), a transcenic piece that transgresses the borders of theatrical knowledge»

Pousta

| Supported by