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2 or 3 questions

Presentation

“2 or 3 questions” is a dance and multimedia performance created and performed by Alicia Soto, the result of five years of research into the concept of reality and fiction. Through stage solos and an encounter with the audience, the work invites us to reflect on reality and the imaginary, playing with illusion, emotion, and visual poetry.

Premiered at the Clunia Theatre in Burgos on October 9, 2010, this project closes a creative cycle that began with The woman without memory and consolidated in My way, but… who is Santiago?With minimal stagecraft, original music, and the integration of multimedia technologies, "2 or 3 Questions" is presented as a project adaptable to theaters, festivals, or unconventional spaces, where the audience becomes an active part of the theatrical journey.

Synopsis

An exceptional program of dance and multimedia made up of several solos, performed for the first time by the director and choreographer Alicia Soto, accompanied by a meeting and conversation with the public about the creative process.

Premiere at the Clunia Theater in Burgos, October 9, 2010.

The solos that make up this show are the result of 5 years of creation based on the artist's line of research in her shows on the reality-fiction concept, from the creation of "la mujer de la sin memoria" until reaching 2010. with the performance «My way, but… who is Santiago?».

The investigation into this concept leads her to build stage spaces, using the technical means of the performing arts until reaching computer programs with multimedia. New technologies allow the creation of new languages in new stage spaces.

Reality-fiction is a game of appearance or deception, of illusionism, making the viewer believe, always from the image, a situation that, as it develops in the show, its reality is another, touching the imaginary of, before everything, an active public.

The illusionism of the image, emotions and poetry together with a musical creation composed for each moment and the use of minimalist but effective scenographic elements, together with the nudity of the body is the proposal of "2 or 3 questions" that they close a research cycle, inviting the public to a conversation.

The result of this creative evolution, "2 or 3 Questions" is an "adaptable" show. The theater, venue, festival, or museum that receives the work can build the program according to their artistic and technical needs. Where the public occupies the stage, the hall, etc…

artistic sheet

Artistic Direction, Multimedia Creation, Choreographer and Dancer: Alicia Soto
Helper: Susana S.
Multimedia Technician: Agustín Bastard
Video photography: Ángel Marcos
Music and Sound Composition: Yoko.Lennon
Musical Composition: Musical Collage
Voice-over: Carmen Castaño
Text "Memory of Melancholy": María Teresa León
Texts: Raquel Rodríguez and Alicia Soto
Technical Direction: Agustín Bastard
Web Graphic Design: Carlos Castaño
Graphics and Communication: David Garnacho
Promotional Video: Phoenicia
Photographs: Julio Robles and Luis Barajas
Production: Bruno Rossi
Distribution and Communication: Carolina Saiz and Eloisa Manjón
Administration: Mª Carmen González

 

Synopsis

artistic sheet

Project

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Críticas de la prensa

Dialogue with the public published in LA TRIBUNA DE CIUDAD REAL (October 23, 2011)
Alicia Soto […] insisted on altering the roles of the theater and began the performance by establishing a dialogue with the public. «The public that attended the Quijano theater yesterday was surprised by the performance of Alicia Soto, who, together with Hojarasca Danza, insisted on altering the roles of the theater and began the performance by establishing a dialogue with the public. From then on, everything was different, even the staging, since the lighting and the projection of images, some created by software, completely altered the space and even served as an outfit for the dancer at certain times.»
Marta Carrasco · Technology also dances, published in ABC de Sevilla (June 5, 2011)
[…]The performance-dance is absolutely new and produces very different sensations: claustrophobia, liberation, nature…, Alicia Soto has created a new form of expression for her company that cannot leave the spectator indifferent, both for its quality and for the intensity of your work. The incorporation of new technologies into the performing arts is something that has gone hand in hand over time. In recent years, the creators have investigated how to use technology and even science so that it is not only part of the scenario, but its own protagonist. The two solos that make up this show by Alicia Soto's Hojarasca company are the result of 5 years of creation, based on the artist's line of research in her shows on the reality-fiction concept, since the creation of «La mujer de la Sin memoria» until reaching 2010 with the performance «My way, but who is Santiago». Alicia Soto is a survivor who never stands still. Director and founder of the Hojarasca company, she almost moves alone in the contemporary dance of Castilla-León. His investigative work leads him to build stage spaces, using the technical means of the performing arts until he reaches computer programs with multimedia. New technologies allow the creation of new languages in new stage spaces. Alicia Soto plays with the reality-fiction concept, a game of appearance or deception, of illusionism making the viewer believe always from the image, a situation that as it develops in the show, its reality is another, touching the imaginary of above all an active audience. In this work, an image is projected onto a kind of closet that opens doors until a naked dancer appears, moving on top of herself, constantly rotating. The video continues and the recorded image slides on the water and then the water turns red in a metaphorical expression. The video has been made without jumps or cuts, false direct. It continues to be projected and suddenly, from what we thought was a door of that kind of "closet", a commotion occurs as the body seems to come out of the screen creating a false 3D image. The feeling is incredible. But the second part was missing, the performance titled «My way, but who is Santiago». Earth appears on a screen, an earth that seems to breathe and hide, as if a bug were sticking out of it. In reality, it is the dancer herself buried at the back of the stage under an earthen coffin and on which a camera has been installed. Little by little, the body comes out and the dancer's nudity appears white on the ground until she is freed from it and begins a very fast dance, almost liberating. Performance-dance is completely new and produces very different sensations: claustrophobia, liberation, nature... Alicia Soto has created a new form of expression for her company that cannot leave the viewer indifferent, both for its quality and the intensity of its job.
Julio Castro · Philosophy of language through dance in 2 or 3 questions published on larepublicacultural.es (December 18, 2010)
Alicia Soto seeks innovation, new challenges in different fields of art Behind Alicia Soto's artistic exhibition, a great weight of philosophical thought is hidden, in which she pours a good part of the content that she develops in this work that she calls 2 or 3 questions, and in which he not only mixes the elements of earth, water, air... and the final fire, but also plays with different concepts, with the bases of knowledge of the philosophy of Descartes' Discourse on Method, through which This choreographer, more than thinking or walking to exist, means dancing to express herself from that "sum" of the syllogism. The author herself says that it is about giving your head to create something new, thinking to do something different. In this way, at the end of his work, he describes in a brief comment how the idea of incorporating the projected part of the video arose, in a more interactive way and relating its interpretation to the projection of images. Thus, the work divided into two large sections, has a first part in which the projection on a door (which supports an elastic canvas) opens a void towards thought and action that videography initially develops in a single plane, but which will then allow the dancer to shape it from the back, intervening directly on the evolving images. He not only achieves very spectacular effects in this set of volumes that go beyond the door frame, but also gives the work a hyperrealism, which is still surprising in this era of 3D in a cinema that is limited to making commercial demonstrations at very high prices. The play with air and water predominate in this first section of the work, ending in a being that will be captured by dreams and fears that grip its most subliminal, albeit immediate, environment. The second part will start with the earth, from which the figure of the being emerges, as if returning from a grave, but naked and alive like a newborn. The parallelism of the advances in his birth is accompanied by the awareness of that need to know what and who one is. With these questions, with those doubts turned into conclusions, the birth takes place, rising from the earth, which at the same time rejects and handles as its origin from that moment on. It moves in the lights and in the shadows, alternating slower and more harmonious movements with other more convulsive and violent ones. In this way, he will fill the room with the earth that has renewed its shape, to move the present towards a future of fire that is reflected in the lights towards which it is directed. A surprising, imaginative work, very parallel and balanced between the scene and the projection, but above all, between the concept of the structures of his image and the message that he transmits at every moment and every format of his work. Yes, it really is different.
Triangle Room, Madrid. Published on eter.com (December 17, 2010)
An excellent show that combines dance and multimedia. A great emotional charge that does not leave you indifferent. Highly recommended.
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