• Cinema

  • Dance

  • Urban intervention


By Luciana Acuña and Alejo Moguillansky


  • Spanish
  • Each piece lasts between 5 to 7 minutes
  • General Audience

An intervention from Argentina that combines dance and cinema, with male and female dancers brought back to life as projections in public places.

Les revenants is a play-installation made up of six different dance solos, recorded in empty and ghostly historic buildings in the city of Santiago and projected in different parts of the city on publicity hoardings, walls and screens. It’s a piece that uses the French phrase les revenants to describe ‘those who come back’ from the dead.

“If a body destined for movement is paused for an unlimited amount of time, doesn’t it come to look like death?’, asks this play. It would appear to be danced by zombies - people who have died and come back again – who control the city with their possessed dancing in a unique intervention.

Cast and crew

Choreography director: Luciana Acuña | Cinematographic director: Alejo Moguillansky | Producer in Chile: Rodrigo Muñoz | Photography director: Manuel Antonio Vlastelica | Costumes: Camila Fernanda Cuevas | Dancers: Varinia Angela Canto Vila, Cristian Alexander Hewitt Carrasco, Daniella Valentina Santibañez Monasterio, Francisca Espinoza

Luciana Acuña y Alejo Moguillansky


Cinema in movement

A dancer, choreographer and actress, her dance, theater and cinema pieces and interventions have been performed in Argentina, Latin America, Europe and the U.S.A. She’s a full professor for the chorographical composition degree course at the National University of the Arts and, with Luis Biasotto, is a director of the Krapp Group, a company that’s been working for 20 years at the limit of different disciplines, reflecting on the performing arts, its forms of production and its possibilities of expression.

—It’s an integrated piece of work by the choreographer and the filmmaker, who have already collaborated on the movies Castro and Por el dinero by Moguillansky. According to Luciana Acuña, who starred in this last film, “In general, I work collectively or with a co-group. Dialogue enriches me and I always need a partner in conversation”.

—In spite of the fact that making cinema and videodance projected in public seems sophisticated, the couple usually works with ‘leftovers’. Their piece Por el dinero is about this - how to make art in Latin American countries that are constantly in crisis. This film was the result of a play the couple put on for 125 dollars and eloquently tells the story of this uncertainty.

—Moguillansky has an eye for filming artists on stage. As he said at the time to the La Jornada newspaper in Mexico, “I’m interested in filming artists, but not in a premeditated way. I’m interested in the creative process itself and in filming it, even though, on one hand, it’s impossible to film, because how do you film a creative process?”.

Videodance: This genre is the result of experimenting between dance and the technique of capturing images. It dates back to the appearance of video art and the beginning of cinema and its evolution runs parallel to these throughout history. It doesn’t involve dances recorded on video, but rather dance and camera establish a symbiotic relationship. In these pieces, the choreography’s creation typically exists only on film or video. “Neither dance nor the ways of expressing it are at the service of each other, but rather they are companions or collaborators in the creation of a hybrid form”, says North American producer and theorist, Douglas Rosemberg.

Artistic intervention: The aim of this kind of art is to interact with an existing situation, piece of art, audience or institution. Interventions became popular in the sixties, when artists were looking to make changes to the political and social context, with artistic residencies being inspired by this movement. It also involves physically occupying a public space using objects placed strategically by the artist, the use of a museum for ‘non-conventional’ purposes or other similar actions.

—Listen to Luciana Acuña talk about chorographical composition as part of the Resonancias Discursivas season.

—Watch the trailer of Por el dinero, a film by Alejo Moguillansky.

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