How to define your own work in 1000 characters? A whole life’s work and dedication. First of all I have to think to whom this text is addressed. I guess that it will be read by people from the profession, curators, directors, journalists… from all over the world. I probably don’t know many of them at all. Am I thinking in future time?… but you are already reading me… So… how are you? I didn’t think that to write about my work could end up being such a direct and private speech. To talk to you like this, in this way… it is hard to imagine… you know... it is like being in a dark room knowing why you’ve gone there, but not having any idea about who’s there. Actually, what is a dark room like? I think this text misses a bit of music… what about something… classic? Let me check… this one is ok. Here we go… she loves you yeh, yeh, yeh/she loves you yeh, yeh, yeh/she loves you yeh, yeh, yeh, yeaaaaaah… much better now, isn’t it? We are almost done, what a pity! I would have liked to talk to you a bit longer. JUAN DOMÍNGUEZ
Juan Domínguez’ work feeds off of questions. Questions regarding the medium theatre. Questions on the parameters of dance: space and time. How can it be e.g. that theatrical representation produces an emotional reality for the spectator? A reality, based on an illusion, a non-reality: someone acts a broken leg, an orgasm. Domínguez tries to let the audience experience this in-between of reality and fiction, by repeatedly building up stories, in order to tear them down again. Thereby opening up a space of the possible, the imaginable, between reality and fi ction, as it could have been, as it could become. The fi ction itself thereby also always seems like an interaction of the visible and the invisible, of that which we know of and that which we can (only) assume, what we expect, (secretly) hope for. “Who are you? What do you want? What are you thinking?” Domínguez asks the audience and in doing so conceives of theatre as a space of refl ection. VERA KNOLLE
