Éxtasis Pánica, el primer performance en Microteatro

Por Axel Amaya (desde México). Microteatro GDL es uno de los más nuevos recintos para el consumo de artes escénicas en la ciudad.

Por Axel Amaya (desde México)

Microteatro GDL es uno de los más nuevos recintos para el consumo de artes escénicas en la ciudad. Ubicado sobre la calle José Guadalupe Zuno número 2024, casi esquina con Av. Chapultepec, comparte edificio con dos bares/restaurant, de esos que abundan por la Colonia Americana. Incluso se puede alegar que el microteatro como concepto y el Microteatro como negocio no dista demasiado de ser un producto destinado al consumo exprés como lo son estos locales, válgame, incluso creo que esa exactamente la tirada.

La franquicia, como si se tratara de una cadena, como Starbucks, lleva poco tiempo en Guadalajara -la idea fue exportada desde Madrid-, y con apenas un año de vida, no estoy seguro si es reflejo o punta de lanza de esta nueva clase de productos culturales pensados desde la globalización, para la comunicación entre sociedades de distintas latitudes -la misma noche que fui a ver el trabajo que estoy a punto de relatar, asistí a la inauguración de la revista Buensalvaje, publicación con un modelo de negocios bastante similar, a escasos metros del complejo, en la Casa ITESO Clavijero, sobre la misma Guadalupe Zuno.

Todo esto es relevante porque resulta que por estas mismas fechas, el autor intelectual de este formato, Miguel Alcantud, visitó la sede y se encontró con que por primera vez, uno de sus mini foros se encuentra presentando un trabajo diferente al teatro, más visceral, menos adornado y con una estructura un tanto heterodoxa: una acción.

Sobre el trabajo de Anúk Guerrero y su empresa artística Nigredo Lab, ya hemos hablado con soltura en una publicación anterior. Basta con decir que Anúk, su madre Claudia Arcega y su compañera Blanca Vélez (¡qué perro cantas!) conforman uno de los colectivos performanceros más activos en la ciudad de Guadalajara y su zona metropolitana. Habiendo presentado su trabajo en cantidad de foros y espacios públicos, casi como un capricho decidieron que la sede tapatía de Microteatro tenía que ser la siguiente en experimentar el terror de sus presentaciones, en cuanto vieron que el tema de las obras para la temporada actual sería #PorMiedo.

Halejandro y yo llegamos al recinto a la hora acordada y esperamos nuestro turno de pasar. Cada 15 min entran y salen grupos de personas en ciclos de hasta 6 funciones diarias. Para la función de las 21:30 hrs, somos los únicos espectadores y Claudia nos hace esperar un poco más, en el lobby, hasta que todo el público haya entrado a sus respectivas mini obras. Nos entrega un papelito en donde nos pide escribir anónimamente nuestro más grande acto de violencia. Luego de unas cortas indicaciones, nos introducen a unas escaleras angostas en donde ya se encuentra Anúk completamente en personaje. Tacones altos, escasos jirones de cuero, mallas y los pezones cubiertos por cinta aislante en forma de cruz. Su mirada es penetrante y amenazadora desde el momento en que la clava sobre nosotros. Se encuentra acuclillada delante de una pequeña tina de aluminio, dentro de la cual sumerge su cabeza mientras se escuchan sus gárgaras -inevitablemente pienso en Chris Burden y en que Halejandro esta tomando fotos muy cerca de ella. Está a punto de salir y sé que no será un movimiento tenue, “quítate de ahí wey, quítate de ahí…” me digo para mis adentros cuando ya es muy tarde y su cabellera empapada moja la cámara de mi fotógrafo.

Sin tomarle importancia, se incorpora y asciende por los barandales de las escaleras. Hay algo sumamente erótico y peligroso en su movimiento, el sentimiento de amenaza está presente a cada momento, mientras nos conduce a una habitación pequeña, de ambiente pesado y encerrado. Hay un altar, una proyección, cuerdas amarradas a las paredes y debajo de estas, una tina. Lo siguiente será una serie de movimientos, imágenes, ideas y sobre todo acciones, que carecen de sentido a través de las letras de este artículo. La tortura, el shock y el cuerpo como conductor de violencia es una de las marcas de agua de esta artista y es una experiencia que vale más ser vivida que narrada. El performance -o la acción- se desarrollará durante otros 8 minutos. Durante este tiempo, Anúk se revolcará, caminará, bailará y posará como Baphomet numerosas veces. Blanca Vélez se revelará como músico en vivo saliendo de un pequeño cuarto y todo culminará en un juego de azar, luego de que Anúk se dirija directamente hacia mí, por primera vez. Me observará y reconocerá en mí al enemigo, caminará hacia mí y susurrando me preguntará:

“¿Águila o sol?”, elejiré águila. Lanzará una moneda y exclamará: “¡sol!”.

Entrará tras bambalinas -una cortina roja- y sacará una resortera enorme. Me mirará intensamente a los ojos otra vez y apuntará hacia mis genitales… ¡Dispara!, rosas blancas y rojas me golpean el abdomen con toda la fuerza que una resortera de un metro que dispara flores puede alcanzar. Se acerca hacia mí, me da una gran rosa roja y en un santiamén Lady Anúk desaparece y me encuentro de cara con Anúk Guerrero, mi amiga accionera. “Hola, ¿cómo estás?”, susurra y me abraza. No tiene mucho sentido seguir en personaje, ya que somos su único público. Casi por inercia ingresa de nuevo tras bambalinas para que Claudia -quien había entrado momentos antes- encienda la luz. Me coloco la rosa en la boca en señal de agradecimiento por el tango.

Bueno, pues caché retazos de contenido por aquí y por allá, pero… ¿esta acción tiene algún tema en específico?

Anúk Guerrero: Sí, la convocatoria era #PorMiedo y pues mis temas siempre giran en torno a eso. Al miedo, a la violencia, a la muerte y en este caso al cuerpo de la mujer y a este dolor de ser atravesada por todos estos mecanismos de violencia que causa el miedo… Con base en el miedo, el amor y el contraste que tienen estos, elaboré la acción. Como juego de contrastes, una dialéctica entre el terror y la belleza.

¿Por qué en el Microteatro? (aparte de la convocatoria)

AG: Se gestionó esto a partir de Secretaria de Cultura. Tomé un seminario en marketing para empresas creativas con Paulo Mercado que está en esta área y teníamos vínculo (Nigredo Lab) con Felipe Curiel, que es uno de los directores de aquí (Microteatro) y a Paulo se le ocurrió hacer este vínculo porque nos dimos cuenta de que nunca había habido un performance en este formato. Nos pareció interesante porque el formato es muy performativo en sí mismo por el hecho de intervenir los cuartos. No es un foro típico, no hay escenario, ni cuarta pared, nada. Así que desde ahí ya había muchas características performativas y a Felipe le encantó la idea y más por la temática (#PorMiedo). Y dijo: “es perfecto para que estrenemos a nivel mundial el performance en Microteatro”. Vino ayer el fundador y dijo que era la primera vez que tenían esto. Habían tenido “microdanza” (risas), todo es micro aquí…

¿Tú lo consideras “microperformance”?

AG: ¡Pues sí, jaja!, yo lo nombré como “Microperformance Art Show”, así todo junto. Pero bueno, eso era como por cuestiones de marketing. Pero sí lo considero microperformance porque mis piezas normalmente duran entre treinta y cuarenta minutos, son mucho más largas. El tiempo ritual, para mí, tiene que ser un poco más largo. Así que un tiempo ritual de quince minutos… pues de alguna manera sí voy corriendo /Incluso las pausas que puedan percibirse en esta entrevista son imaginarias, ya que también fue una microentrevista debido a los tiempos que manejan/ entonces para mí sí fue todo un reto. ¡Y a parte estarlo repitiendo!, yo jamás había hecho esto. Siempre son como piezas únicas o que sí tengo en mi repertorio y que hago cada tres meses, o algo así. Aquí en cambio es una, tras otra, tras otra. Seis veces al día. Entonces el formato fue diferente. Hice cuestiones más físicas. como para entrar en ese mood como de alucinación. Lo físico me lleva a ese estado.

Como algo de Grotowski…

AG: Exacto. Algo así como teatro físico, tipo Grotowski, Meyerhold… Por allá, ¿no?

Me interesa mucho saber cómo ha sido la reacción del público…

AG: ¡Muy chida! Creo que la mayoría ha salido conmocionado, cosa que es mi intención. Y más porque yo creo que un 80% de los que vienen jamás habían visto performance, entonces creo que aquí estamos abriendo una nueva brecha de mercados y nuevos públicos. Me da mucho gusto porque nadie se lo espera y esta cuestión del balazo al final nadie se la espera, y entonces siempre acaba muy bien. Obviamente siempre agarro a hombres porque también estoy jugando y cuestionando con estas ondas de género y cómo ellos se confrontan al recibir esa agresión por parte de un género que siempre es sometido.

¿Qué hubiera pasado si hubiera elegido sol?

AG: Tú me disparas.

Oh…

AG: Sí, entonces también es jugar con el azar. Algo muy propio del performance y más en México. Los juegos tradicionales, la ruleta rusa… Son juegos, pero también son violentos. Es poético porque te disparo con flores, pero también te impacta. Si tú ganas tú me disparas y es interesante, porque estamos a mano.

Y ya para no quitarte el tiempo, ¿qué sigue de aquí?

AG: Pues de aquí yo quiero crecer esta dinámica. Este es el proyecto piloto para hacerlo, digamos, con un apoyo de beca, más interdisciplinario, baile. Cosas más grandes. Quiero crecerlo, quiero llevarlo a otros lugares, pero por ahora yo creo que para fin de año sí vamos a estar presentándolo algo un poco más grande.

A la salida le pregunto a Claudia para qué utilizarán nuestras confesiones de al principio. Me dice que las usarán en alguna acción y le pido una primicia, no me la da. Me insta a estar al pendiente.

Éxtasis Pánica se estará presentando hasta el primero de Noviembre. Tiene un costo de $50 pesos por función -como el resto de las micropiezas- y se presenta 6 veces al día, jueves y viernes de 20:00 a 22:30, sábados de 19:00 a 21:30 y domingos de 18:00 a 20:30.

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Halejandro-Cortes-Extasis-Panica-1-710x476

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Fotografías de Halejandro Cortes
Fotografías de Halejandro Cortes

Entrevista publicada en amapolacultura.com

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