Valoramos su privacidad

Este sitio Web utiliza cookies propias y de terceros con objeto de mejorar la experiencia de navegación. Si continúa navegando estará aceptando de forma expresa el uso de estas cookies. Puede obtener más información en nuestra página Política de Cookies o personalizar la experiencia.

HOW TO WRITE WHAT CANNOT BE WRITTEN: kamikaze drama laboratory


Oier Guillan

Fechas — 25 April and 2 May 2017

Biografía

PRESENTATION / BIO

I was born in Orereta, in a working-class, Spanish-speaking neighbourhood. Perhaps for that reason, writing and the Basque language have become for me a way of being in the world. I spent my youth working in the cultural association Mikelazulo, where collective spirit was the foundation of every project. The self is a continuous laboratory.

CV / PROFESSIONAL EXPERIENCE

Writer, journalist, playwright. He has published several books in the fields of poetry and dance, the most recent being: Ate hautsiak (Arabako Foru Aldundia, 2008), Eskuen sustraiak (Susa, 2009) and Herio heroi/Arra.Arraroa (Artezblai, 2010), Hura ez da lekua (Txalaparta, 2012), Elkartasun basatia (Susa, 2013) and Mr. Señora (Txalaparta, 2016).

Since 2008 he has been part of the Metrokoadroka collective, and with its members he has staged works such as Poza, Su izan nahi, Salto, Zertarako Hegoak and Munduan beste. In April they premiered their latest piece, Miss Karaoke.

He has collaborated with groups such as Dejabu panpin laborategia, Anakrusa and Rouge Elea, and has been part of hybrid shows such as Gabrielen lekua and Nola belztu behar zuria.

DESCRIPTION / OBJECTIVES

When the process of dramatic writing occurs within the creation process, everything becomes material. Or rather, material for dramaturgy can be found everywhere and at all times—if one pays attention. One can write words, but one can also write moments, spaces, bodies, silences, poetic images, creative processes. One can write things that cannot be written. And stage work is, most of the time, made up of things that cannot be written. In stage work, everything is writing, even what is not writing.

Over these two days we will make a quick approach to the type of writing we work with in the Metrokoadroka collective’s pieces. To show that writing can take many forms, and that often the stage work itself, when you dive into the creative process, ends up writing you.

These days will be a kamikaze dramaturgy laboratory.