Las Edades de la Mujer (The Ages of Woman)




The work is intimately connected to the classical topic of tempus fugit, a recurring idea for European art since the Renaissance, in which the subject was the pass of time on the woman’s body, which remained as its object.


Rereading what this topic can nowadays speak to us, and weaving dramaturgies that combine both narrative and reflexive episodes, The Ages of Woman follows a structure of images, moments, which continuously evolve and disappear together with the characters’ identity.


Visual metaphors of concepts such as the birth, the abort, the search of sexual identity, the neglect or the permanent struggle trying to escape the inferno of the same (in words by Byung-Chul Han), circumscribe a narrative pad in which we cannot distinguish heroes or antiheroes, but only the incommensurable power of the word. The identity of the performers within the piece remains under construction, liquid and ambiguous. They remind as numbers, anonymous entities and sound sources.


Thus, the scenic action takes place into an unreal environment, where ideas become ephemeral images that connect movement and sound in an intrinsically way. The text is only composed by female names; thus, each part (the piece is divided into 3 movements) is characterized by a certain sound, a certain colour that fills it all.