Throughout the research, the artist has been abandoning everything that had to do with the written or spoken word in the theatrical space: Within a story built on words, I have remained mute.
But this intentional flight from the textual does not flee at all from the phoneme, from sound: a place where the search for a reunion with the original meaning of the verb is transformed in Acto de Fe into a musical phrase that repeats itself like a demiurge, on the one hand, and in the codification of language through the hands of the performers on the other. The code of the hands, composed of 19 symbols, repeats tirelessly: The Sacred can’t be touched because it is perverted by our ignorance.
The flight from the textual, in the work of La Señorita Blanco, comes from the need to go to the core, to the why, to the origin of that history that has built us as humanity and to the speculation of other possible modes of communication.
