Halima Tahan:
Although I am going to refer to the Argentine group Periférico de Objetos (Peripheral Objects), I want to mention that in South America there are a great many manifestations – many of which are very interesting and worthwhile– that from the aesthetic-ideological viewpoint have faced long and risky searches when it comes time to produce their words that transgress the conventional boundaries of their trade. One can mention the Colombian group Mapa teatro and its excellent Proyecto Prometeo, the Brazilian Teatro da Vertigem whose latest production, Territórios do río was the result of a hard and long investigation.

Basically self-reflexive and interartistic, these “works” present scenic configurations of great complexity, resorting to a principle of “polyhedric composition” in the interpretation. Faced with the shifting geography of scenic contemporaneity, I consider that a critic’s job is submitted to tremors and risks, to the same upsets and vicissitudes as its object of attention.