María Velasco (Pecado de Hybris)
| Text and direction: | María Velasco |
| Artistic advisor: | Judith Pujol |
| Starring: | Laia Manzanares, Joaquín Abella, Miguel Ángel Altet, Fran Arráez and Beatrice Bergamín |
| Choreography: | Joaquín Abella |
| Stage design: | Marcos Carazo |
| Costume: | María Velasco and intérpretes |
| Lighting: | Irene Cantero and Víctor Colmenero |
| Sound design: | Peter Memmer |
| Visual arts: | Elena Juárez |
| Photographer: | Mara Alonso |
| Technical coordinator: | Carmen Menager |
| Executive production: | Ana Carrera |
| Production: | María Velasco (Pecado de Hybris) and Openfield Business |
“To remain human is to break a boundary. Love it if you can. Love it if you dare”.Anne Carson
What does "uprooting" mean? If you uproot, do you become uprooted? What
relationship can a barbecue have with the fires of the Amazon and the song A Rapist in Your Path? They said: God is dead, the man is dead, is
nature dead?, what about the woman? Can ecological thinking be applied to
human relationships, including sexual ones?
A pre-teen girl walks away from her family at a barbecue to read under a
tree. With this act, a rite of passage begins, and also the ordeal of a
Generation Y woman, as a youngest daughter, doctoral candidate and sex
worker. Talaré a los hombres de sobre la faz de la tierra (I will
cut men down from the face of Earth) relates emotional and sexual violence
to violence on the environment, comparing the "extractivism of the
resources of the unconscious and of subjectivity, language, desire,
imagination, affection" (Suely Rolnik) with the extractivism of natural
resources. I will cut men down from the face of Earth is a story
of empowerment for greenery.
Maria Velasco's new project has a self-fictional basis, but it transcends
personal experience thanks to the dialogue with currents that have been key
in reactivating critical thinking in recent years: feminism and ecology.
The proposal calls for text-based theatre as a controversial opposition to
text-based-theatre. The work is used as a beta file and as a trigger for an
ecosystem of meaning in which music (Peter Memmer), dance (Joaquín Abella),
plastic arts (Marcos Carazo) and visual arts (Elena Juárez) participate.
Words must act as spores, reproducing themselves in unexpected situations
and events. In this sense, the play aligns with the aesthetics of the
latest production of the creator, La espuma de los días (The foam
of days).