Framework of the interview:
 
actors / agencies:
-       Óscar Cornago, philosopher and theatre theoretician
-       Archivo Virtual de Artes Escénicas (ARTEA)
-       International Seminar on New Dramaturgies

 
concepts / themes > lenses:
 

critical cultural policies:
-       relations between theory of performing arts and the scene; and between university and the scene – Artea, Archivo Virtual de Artes Escénicas, you as a theorist

critical practices related to the reflection:
-       creating the space and conditions for theoretical and artistic reflections on practice / vs. production, market’s request – International Seminar on New Dramaturgies (in regard to the fact that dramaturgy doesn’t exist as a study field and that artists don’t collaborate with dramaturges)
-       clear theoretical concepts vs. common sense and doxa; creating the problem

other possible themes:
-       ‘return of the real’, intrusion of the real body to the stage / vs. illusionism, fiction
-       performativity and/or theatricality – in dance, performance art and theatre
-       what would you emphasize as the most prominent critical perspective(s) or concept(s) at the contemporary performing arts scene in Madrid?

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:
- Amalia Fernández, independent artist, choreographer
- El Club

concepts / themes > lenses to her work:
-       critical practices in ways of work and production:
- your position is specific – since you live in a village outside Madrid. Why did you decide to move? And how does it influence your way of work? How do you produce your works? How and with whom do you collaborate? Where do you perform? Do you belong to the Madrid scene? Do you understand it an individualist position? What is your understanding of collectivity?
-       critical practices related to the reflection:
- Do you have an opportunity to research on your and the others’ artistic practices – if so, what are the structures for it? Can you explain your understanding of El Club in regard to this?
- Are you satisfied with reflections and theoretical feedback on your work?
-       other possible themes:
- Do you consider your artistic work critical? If so, please explain in which terms, how (by its subjects/themes, or the ways of work…).
- And, what do you think, is it important for an artist to be critical?

Framework of the interview:

actors / agencies:
-       Victoria Pérez Royo, theoretician
-       Master en practicas escenicas y cultura visual
-       ARTEA
-       Cairón

concepts / themes > lenses:
-       critical practices related to the reflection: creating the space and conditions for theoretical and artistic reflections on practice, and for the research – Master en practicas escenicas y cultura visual, ARTEA / vs. production, market’s requests; clear theoretical concepts / vs. common-sense thinking and doxa. How do you collaborate with the artists whose work you (you, personally and Artea) elaborate theoretically?
-       critical cultural policies: relations between theory of performing arts and the scene; and between university and the scene – Master en practicas escenicas y cultura visual, Artea, Cairón
-       other themes: What are the concepts and practices you understand critical for / at the contemporary performing arts scene in Madrid? Do you consider your theoretical work a critical practice at the scene? (If so, why, how…?)

Framework of the interview:

actors / agencies:
-       Juan Domínguez, choreographer
-       In-Presentable festival
-       Living room festival (Madrid – Berlin)

concepts / themes > lenses to the actors/agencies:
-       critical ways of work and production: how do you produce your works in madrid? how and with whom you collaborate (except in production of a piece)? where do you perform?; Living room festival – and its creation of new public space, and freedom from institutional requests; why did you initiate El Club?
-       critical discourses in medium and form of performance: your artistic work as deconstruction of theatrical mechanisms and conventions; your work with ‘expanded time’; what do the concepts of interdisciplinarity & dis-disciplinarity mean to your work?
-       critical cultural policies: In-Presentable – importance of bringing authors from abroad, creating space for continual public talks and dialogues; what do you think about collaboration between institutions and independent/freelance scene – La Casa Encendida + In-Presentable?
-       one more possible theme: are you satisfied with reflections and theoretical feedback on your work (here)?