In the beginning, there is a picture: Rosaura sleeps next to her sister who is sitting up, awake (is she watching us?). These figures begin to move, the frame disappears...
Coming out of her slumber, opening her eyes, Rosaura says « no ».
No to her name.
No to her family.
No to her roots.
No to her language.
No to the facts.
No to what people say
about who they believe her to be
and who they want her to be.
Three times, Rosaura wakes up, destroying—in three acts—the composition; also creating—in three acts—a moving picture.
Rosaura and Angustias are allegories. They don't come from theatrical characters animated by a particular psychology, but from function-roles. They each carry a meaning that feeds on their confrontation.
Rosaura and Angustias are sisters, as Angustias confirms, which gives them the common position of having to live with their family, to accept or deny, but in inevitably stumbling upon its organization, its idioms, its silences, its codes, its stories, its laws, its restrictions. The family thus becomes a microcosm of other worlds, so to speak: the past, the future, politics, war, love.
Rosaura is revolution. Angustias is stability.
Rosaura is foreign everywhere. Angustias is simply somewhere.
Rosaura rejects her roots. Angustias has ancestors.
Rosaura is naked. Angustias is clothed.
Rosaura doesn't know. Angustias knows.
Rosaura denies her family. Angustias knows that Rosaura is her sister.
Rosaura opens her eyes. Angustias doesn't close them.
Rosaura questions living a dream. Angustias doesn't question reality.
Rosaura refuses her name. Angustias wears her's well.
Amnesia, troubled, mysterious languages can be read like an infinite number of signs. Its flaws are also the sources that feed dance, writing, and acting.
The body says no.
This no is not a renunciation, on the contrary, it is comes from fury and resistance.
This no is an energy, unchangeable, mad, that, to express itself, would need fields designed for races, jumps, flight. But Rosaura doesn't have this space. This dance is built from hiccups and restrained momentum. The choreography is born from a reduced space, too small, tight, that emprisons.
In tandem with the choreographical composition, we wrote a script mixing French, Castillian, and Catalan, which tells the story of madness, a rebellion against order.