Son[i]a #374
Mapa Teatro
![Son[i]a #374](https://img.macba.cat/wp-content/uploads/2024/03/santos-inocentes-mapa-teatro-640x400-6.jpeg)
Mapa Teatro is a laboratory of social imagination founded by Heidi, Elizabeth and Rolf Abderhalden in Paris in 1984. In 1986 it moved to Bogotá, where it operates today. Since its earliest days, Mapa Teatro has worked in the field of live arts, with a commitment to collective practices and the creation of temporary experimental communities. Like good cannibals, its members work on transforming materials to create new universes that embrace testimonies and fiction, poetics and politics. Their productions include theatre, opera, radio, performative lectures, urban interventions, actions, and sound installations. Actively involved the challenges and explorations of education, they also founded an Interdisciplinary Masters in Theatre and Live Arts and the Experimenta Sur platform.
In this podcast, we chat to Mapa Teatro about 40 years of practice and extended fraternity. We talk about living archives, happenings, witnesses, and fictions. We look at a practice structured by acts of listening that do not depend solely on hearing, and we reflect on the unheard and the inaudible. We also touch on their notion of ethno-fiction, on the layers of forgetting, on memory, and on strategies to destabilise the real.
André Lepecki
André Lepecki talks about the chronopolitics of disappearance, dance, Louis XIV, the acquisition of choreography, testimonial power, object-oriented ontologies, choreopolicing, the writing of movement, and selfies.
Maria José Arjona
Con una trayectoria de varias décadas de prácticas e intercambios entre pecho y espalda, Maria José Arjona explora a través de la performace de larga duración un cuerpo que pendula al borde del abismo de manera afirmativa. Su repertorio de gestos hace parte de un gran archivo en permanente tránsito y transformación, a menudo atravesado por la historia de la performance, aunque siempre vivo. En este podcast, Maria José Arjona mira hacia adelante y hacia atrás, para trazar un diagrama invisible de procesos, acciones y deseos, entre su hacer en solitario y su necesidad de desbordar una política del tiempo con otros artistas, mediante la subversión del tiempo institucional: ¿qué le pasa a la performance y al performer cuando su trabajo pasa por estar ocho horas en un museo?