Framework of the interview:

actors / agencies:

• Monica Valenciano, choreographer, dancer
• El Bailadero, company
• research group La Inesperada
• association UVI – festival Devasciones

topics:

critical cultural policies:

-       the importance of continuity – sustainability, survival and change

collaboration / collectivity

-       how do you see it? as a functional solution only? or as an opposition, resistance, alternative to the socially predominant individualism?

-       UVI – the structure, ways of collaboration; ana buitrago, olga mesa, elena córdoba – la inesperada; collaboration with amalia fernandez in el bailadero; artistic collaboration with fernando renjifo

critical practices related to the reflection

critical terms & concepts: research vs. training, reflection vs. production

-       la inesperada – how does it function? what are the methods of artistic research?

-       What is the importance of research in artistic work? can you explain your approach in the terms of: research vs. training and reflection vs. production? whose theoretical reflections you find important and influential to you?

other themes:

-       criticality at the performing arts scene in the late 80s and today – a comparison;

-       is criticality an important aspect of art? do you consider your artistic work critical? if so, please explain and try to think critical to what, and for what sake.

 
Framework of the interview:

actors / agencies:
-       Carlos Marquerie, theatre maker
-       teatro Pradillo (in the 90s and today)

concepts / themes > lenses:
-       critical practices related to the reflection – Your informal meetings with colleagues and friends, as sharing and communicating artistic process; Your ‘ethical approach’ to artwork – could you please explain it, and think why it is considered critical (by our previous interlocutors)? Are you satisfied with reflections and theoretical feedback on your work?
-       critical cultural policies – Experimental and risky programming: Teatro Pradillo in the 90s – why was it critical (in which terms: content, aesthetics, ways or work…), and how does it look like today?
-       other themes: Do you consider your artistic / theatrical work critical? If so, please explain, and try to think critical to what, and for what sake? Do you thing the use of the standard political terms, like leftist, rightist, neoliberal, democratic, totalitarian, etc., is or could be critical at the actual Madrid scene? Are they used frequently, or do they lack – from your point of view?