First off, I apologize for speaking in the first person.
I usually do not respond, at least publicly, to any critic or spectator regarding the details of the “machinery” of our productions. I have always thought, like García Marquez, that what I have tried to say can be found in what I did. Instead, I learn much more by listening to the different interpretations of what I do, which at times is the result purely of artistic intuition or craft, based on the experience of numerous collective works that I have been involved with over the years. Above all, I insist that there should be a plurality of readings of what I pursue or dream of, and of my obsessions and inspirations as an artist, thinker, and human being.
I am very fond of Pablo Picasso’s idea that rather than searching for things, one finds them in the course of making art. That is why I am much more passionate about aesthetic origins than the completion of a creative work. I always try to use the modest plural as opposed to the more frequent and excessive “I” that has become habitual and abundant in the discourses that for so long have inundated every branch of thinking in our country—mostly in the arts, and especially politics.
But I am compelled to respond to a “hasty” review (read “induced,” “commanded,” or “dictated,” which explains its “hastiness”) of the opening performance, this past July 4, of the play Exit the King by Eugene Ionesco, performed by our group El Ingenio:
Read the full article here.