La propuesta escénica de Fuerza Bruta en su espectáculo Wayra.

Abstract

Choosing the topic for my thesis wasn't a difficult decision for me because I found in Wayra everything that challenged me as an artist. I found that aesthetic, that spectacular rhythm, and that spatial arrangement that had swirled around in my head for a long time but that I hadn't yet experienced tangibly. For years, I projected into the world of my imagination different dynamics, spaces, levels, and aesthetics that I found in Wayra. This led me to think about my journey as a student and as an artist, where through research and my desire to capture concepts and ideas in different materials, elements, effects, and machinery, I approached, and continue to build, my own stage language. I've always found it interesting to have a stage design that dialogues intimately with the actors and that interpellates with each other in such a way that both come alive on stage. The exercises were very varied, but they all led to the same place: discovering my own body, discovering my limits in order to overcome them and find new ones, experimenting with the laws of movement, breaking and creating new balances, detecting my resistances and exploring the opposing forces in my body, and my body in relation to space. The repetition of certain exercises and the use of certain techniques led me to find a threshold where technique ceased to be technique and became poetic states of the body; the exercises were no longer exercises, they were theatricality and expression in every muscle, and the fatigue provoked was no longer fatigue; it was now the driving force behind my actions.