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Photography: Centro Cultural Conde Duque

 

The passivity of most of the society, that observes these sacrifices, these injustices, without the desired forcefulness, is also denounced by means of the reference to peep show, the spectator who observes without being seen, consuming on a scopic way, moved by a passive curiosity, or simply by morbid fascination, without an ethical reaction whatsoever. Historically, the concept of peep show referred also to the little boxes the spectator finds at the beginning of this play. But the way of looking has degraded with time, and at the present this Iphigenia asks herself about the possibility of an ethical way of looking to human beings -specially women-, to sacrifices, to tragedies that in many ocasions visually feed our everyday life without soaking through us.

 

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Photography: Centro Cultural Conde Duque

 

On this set up, as others from The Winged Cranes, different languages are mixed: japanese bunraku and otome bunraku, video projections, the performer as handler and handled, shadow theatre and the use of light to enlighten spaces that come into life, as a puppet, to go deeper into the myth and the tragedy, as something not so far away from us. This way the public find themselves locked into their own tent, from where they see, from inside and protected, the infinite cycle and absurdity of war, of all wars.

 

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Photography: Judit M. Marín

 

 

 

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