Abstract
Tejidos is a community artistic project that aims to develop a community to give voice to the particular stories of those who live in Oaxaca (women and the deaf community) and Mexico City (older adults). The project has been funded by the Arts Council England (2018) and Iberescena (2019). “Theatre of Yes” is a methodology that uses the power of beauty as a language to break the stereotypes of situations that society views with apathy. By creating a provocative and emotional performance, we can transform the lives of people who suffer social exclusion. Yet, how can we create a high-quality performance with people who are not professional actors but have stories that should be shared? How can we use powerful performances as an axis of change? How can emotions be the motor for the struggle against the social oppression that many groups suffer? Artistic work has helped us to observe how creativity pushes people to find a freer self and, above all, to be close to the essence of the human being. The base of the Theatre of YES brings together the universal characteristics, honesty, simplicity, humility and generosity. The characteristics of the methodology developed with these groups are the yes as a weapon against the non-worthy self, beauty as the axis of change, physical theatre according to the Lecoq methodology.
Highlights
Marina Pallarès Elias is the artistic director of Acting based in the UK and Rebozo Teatro based in Mexico
The characteristics of the methodology developed with these groups are the yes as a weapon against the non-worthy self, beauty as the axis of change, physical theatre according to the Lecoq methodology
Her passion is to create high-quality performances using the personal stories of people who do not have the opportunity to be heard. She has worked in Mexico with women, deaf people and the elderly; in the UK with people with mental health challenges, learning disabilities, LGBTQ+, refugees, women; in Italy with people with physical disabilities; in Spain with the LGBTQ+ Zinegoak Film Festival; in Germany with migrants
Summary
The Yes as a political-ethical position in a world where the “You are not enough” does not prevail in the cultural discourse. Beauty helps us understand the world more, the processes where they lead people to commit acts difficult to find an answer such as suicide attempts, psychotic attacks, abandonment This connection will be the rebellion: a committed theatre, seeing alternatives and empowering protagonists to refuse to reproduce the norms established by a culture that benefits itself, leaving those of no interest aside These alternatives are created from understanding our own narratives and unleashing the space of victimisation or guilt that many people have in their lives. The creation of the work is to break the morality imposed by the dominant culture from the morality (what to do and how to behave) by welcoming the contradictions that the stories may have by breaking the social order In this state of competition, of power relations, the Theatre of Yes process has to be an absolute collective process. Breaking prejudices will be the rebellion, a committed theatre, from the community, honesty, humility and generosity in seeing alternatives and empowering the protagonists to be themselves
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