Creation Residence  
L'animal a l'esquena (Celrà)
From 27/08/2018 to 01/09/2018

Beatriz Fernández, Marina Colomina
( Beatriz Fernández, Marina Colomina )

La Poderosa has invited me to do a broadcast of the piece Escorzo as part of Hacer Historia(s)/Making (Hi)stor(y)ies.
This solo, created in 2003, was forged during a period which began for me when I started working with Oscar Dasí and Carmelo Salazar in 1995. At that time I was acting as a life model for Fine Arts students. The role of being observed as a body-object to be drawn or painted in real time gave me the foundations, the questions and the starting point to construct the kind of presence and movement that inhabits this piece.

One of the first reasons for my interest in the idea of a broadcast was the almost ecological need not to create anything new but to go back over my tracks, in this case over what I had already danced at another time, in another context, with another body, and bring it up to date, reanimate it, ground it in the present and in another body-presence, that of Marina Colomina. Through all this I was aware that Escorzo, as my first piece, is full of mistakes, incomplete thoughts, unfocussed potential and above all a lot of intuition and a need or desire to exist. How to go about making this broadcast is the question and it will end up shaping the new object or piece. At the moment I like to think of it as a hand to hand in which Escorzo is a map or score full of notes, sketches, layers of information both aesthetic and taken from experience, formal and emotional, visible and invisible. There is doubtless some potential to develop, elements that are incomplete… a whole territory to explore hand in hand with Marina Colomina, who is the main variable in this experiment. This first phase, on which we have already worked for a month, has given us may clues and now we need a second phase of research.

To foreshorten: to represent things that lie perpendicular to the plane, shortening them according to the rules of perspective.

In this new version, the views of Marina Colomina are essential to bring the work up to date and into the present. On the table we have concepts such as hospitality, and around it others such as host, visitor, boundaries, management, negotiation, estimate, weighing between
choreography and practice
foreshortening or doing what is suggested by the foreshortening?
what do I do to the material and what does it do to me?
the geometry of the image or the projection of the form?