Texts

El devenir de la Performance Art argentina en época de pandemia - Camila Stehling

Embosquecerse- Leslie Cassagne - Agustina Sario

Eva y Adán en el Paraíso - Fabiana Barreda

¿Compoturgia o Dramatición? - Agustina Sario

Desaparecer - Agustina Sario/Matthieu Perpoint

Symphonie pour bouches et chair - Leslie Castagne

Doble imposible - Agustina Sario l

Solo nº3. Cuerpo Chamánico -Fabiana Barreda

Body-score. Prologue - Fabiana Barreda

Vestida de Novia - Anibal Villa Segura

Solo nº3. Earth is ritual rhythm - Aníbal Villa Segura

Earth is ritual rhythm. Article Extract “Solo n 3”, by Anibal Villa Segura

Agustina has her body marked and decorated by the painting. The semi complete round of the parties has us stunned as participants. In a corner a blanket, colorfully, serves to cover herself, perhaps the oldest costume. She (no longer Agustina) dances promptly, gracefully, with energy zapatea, while Mahieu plays the hype. It is already a ritual and thanks to the rhythm, there ... close to us there is a principle of renewal thus it institutionalizes for that moment the abolition of any distance between the individuals through a participation that does not distinguish between performers and observers. We disappear as individuals, we are reborn as participants * Thus between branches appears Agustina the goddess, with her Olympic mask or pachamama, becomes the negation of the individual identity, of the unique sense, it is expression of the metamorphosis, the violation of the natural borders, the ridiculizacio´n, the names and nicknames; embodies the principle of the game of life, establishes a relationship between reality and the collective image. Agustina goddess, dances and enunciates, faces and provokes us, while in parallel seduces us. Without seduction there is no dance. Agustina Sario has been and therefore remains a dancer, worker, priestess, goddess, mascara and no mask. Matthieu Perpoint is the rhythm, ripped voice, shrieking shouting hype, slippery and evanescent music.