Documentation

Context and Artistic Process

Interiores originated as a research project exploring the possibilities of dramaturgy in contemporary dance. Taking Maeterlinck’s Interior as its point of departure, the creative process gradually moved away from literary adaptation, treating the original play as a conceptual catalyst for generating new scenic relationships.

The production inverted the spatial logic of the original work. While Maeterlinck places the dramatic tension outside the house, where two messengers hesitate before announcing a death, Interiores relocated the audience inside the family’s intimate space. The musicians occupied the dramatic position of the absent voices outside, transforming live musical composition into an active theatrical presence instead of an accompaniment to movement.

The dramaturgy emerged collectively throughout the rehearsal process, allowing choreography, live music and visual composition to evolve as autonomous yet interconnected languages. Each discipline maintained its own expressive logic, generating meaning through juxtaposition, coexistence and dialogue.

As Co-Director, Co-Dramaturgist and Choreographer, I collaborated with Diego Rodríguez in developing the conceptual framework and scenic language of the work. The choreographic process encouraged performers to generate movement from their own embodied experience within a shared poetic structure. Cycles of repetition, fragmentation and transformation became the principal compositional strategies for exploring memory, time and perception.