Carolina Yuste and Enrique Cervantes
| Creators, work and texts: | Enrique Cervantes and Carolina Yuste |
| Audiovisuals: | Afioco Gnecco |
You can't run from food. Well, you can, but we all know how that ends. You
can't run from your body. That’s a lie too, but it ends in pretty much the
same way.
We live confined within our bodies, in a constant relationship with food.
That's as unassailable as is the statement that we are alive or that we’ll
die one day. And as usually happens with people, our relationship with
these two elements can be quite varied. Very varied. Now, doubly confined,
this game of relations has skyrocketed and become contagious, like a virus
in a pandemic. Hunger or Hamsia?
Eating disorder. “Doraemon pal, do you have anything in your pocket to make
me fly?” Dysmorphia “Why does Tinky Winky eat a pink paste?” Primary
polydipsia. “Does Batman eat burgers?” Muscle dysmorphia.
I’ll fast intermittently to clear my intestine. I’m not looking to slim
down. Self-delusion. María Patiño can't be on Survivors. Why? And all your
adolescent and post-adolescent figures of reference whisper small litanies
into your ear.
The tap turns on and the ritual begins. The lights are dimmed. Your ears
are buzzing. Your moustache is sweaty and heart beats like a metronome.
Mechanical, yes, but no less ritualistic for all that. Here, nobody's
looking. Nobody except you, who begins to salivate.
When I grow up I want to be like Chiqui de Jerez to reach God. And sing.
Sing.
Enrique Cervantes and Carolina Yuste
Enrique Cervantes
Enrique is an actor and creator from Algeciras who has been living in
Madrid since 2010. He studied Drama at the Royal Academy of Dramatic Arts
(RESAD) in Madrid and completed his studies in acting at La Manada Centre
for Theatre Acting. At the same time, he began his professional career in
La Joven Compañía, with roles in plays such as
Hey Boy Hey Girl
and
Fuenteovejuna
.
In theatre he has been closely associated with contemporary works, some related to documentary theatre (such as Elogio de la pereza or In Praise of Idleness, at the National Drama Centre) and in others with the reinterpretation of classical texts, in the company [Los número imaginarios], with plays such as La última noche del Don Juan (Don Juan’s Last Night), La cena del rey Baltasar (King Balthasar’s Dinner) and LEAR (desaparecer) (LEAR (disappear)).
In addition to being an actor, he is also a writer. He published his first collection of poems Las letras sobre mí (The letters on me) in 2018, Ediciones Hidroavión. Currently he remains fully dedicated to developing himself as an author and creator. He is especially interested in mxing personal experiences with documentary and fictional narratives.
Carolina is an actress from Extremadura who studied at the Royal Academy of Dramatic Arts (RESAD) and at La Manada Centre for Theatre Research. Some of her most noteworthy performances are in Hablar por hablar (Speaking for the Sake of It), directed by Fernando Sánchez Cabezudo; Suaves (Soft) by Gon Ramos, and Prostitución (Prostitution) by Andrés Lima.
She has also participated in multiple audiovisual projects such as Carmen y Lola (Carmen and Lola) by Arantxa Echevarría, which earned her the Goya Award for Best Supporting Actress in 2019, Quién te cantará (Who Will Sing to You), by Carlos Vermut; Hasta el cielo (Until the Sky), by Daniel Calparsoro; El cover (The cover), by Secun De La Rosa; and Chavalas (Girls), by Carol Rodríguez, among others.
She is currently involved in a process of creative research on how to progress artistically and how to translate personal conflicts and life experiences such as eating disorders and bulimia onto the stage, as part of her own creative impulses, in addition to her work as an actor.