Ino Moxo
UN VIAJE EN EL ESPÍRITU DE LA AMAZONÍA
60 minutos
NATURALEZA, BOSQUES, TRADICIONES AMAZÓNICAS, MEDICINA Y CANTOS CURATIVOS, CAMBIO CLIMÁTICO, ÉTICA.
ES
Lima, Perú 2016.
Teatro Británico.
La puesta en escena reta al espectador, tanto a ser parte de un viaje sensorial como a ser un receptor activo. Y si bien esta afirmación podría parecer contradictoria; el constante viaje entre lo concreto y lo poético, lo simbólico y lo onírico, lo abstracto y lo icónico, permite concluir que esta obra de Integro hace de las supuestas contradicciones un tramado que se enrosca – cual serpiente o enredadera – entre sus opuestos, para así poder avanzar.
Ficha técnica
Elenco: Ana Zavala, Marisol Otero, Francesca Sissa, Roldan Muñoz Rawa, Gonzalo del Águila;
Ikaros (canciones): Rawa; Música: Santiago Pillado; Vídeo: Juan Carlos Yanaura; Diseño de vestuario: Ana Teresa Barboza; Traducción de textos: Mary Ann Vargas; Fotografía: Musuk Nolte, Jason Sullivan; Director técnico: Mariano Márquez; Técnico de sonido: Trilce Naters; Producción ejecutiva: Bruno Paino; Dirección: Oscar Naters.
EN
INO MOXO
A JOURNEY IN THE SPIRIT OF THE AMAZON
60 minutes
NATURE, FORESTS, AMAZONIAN TRADITIONS, MEDICINE AND HEALING SONGS, CLIMATE CHANGE, ETHIC.
Lima, Peru 2016.
British Theater.
Ino Moxo takes as its starting point Cesar Calvo’s novel “Three Halves of Ino Moxo” Appropriating from it -without pretending to be a literal or dramatic representation- the mystic, ritualistic and astonishing nature of his narratives, in addition to making use of various elements, traditional and contemporary, of the Amazonian imagery. The mise-en-scene offers a structure composed of different tableaux or moments that alternate with projected texts. Each tableau contains its own universe of space, lighting and audiovisual composition, which generates a diversity of stimuli and associations. So, by having the presence and the combination of visual and musical scenic elements the spectators are provided with the tools to make their own associations and construct a personal reading of the performance, the interpretation of which has the possibility of being based on concrete as well as enigmatic situations.
The projected texts navigate through the poetic, the mythical and the condemnation of abuse. The staging does not resort to the physical prowess of the actors, but to their ability to occupy space and to actuate; it does not rely on the projection of the dancer’s movement, but rather on the expansion of the energy of the interpreter. It is thus that the bodies and their actions are components of a structure, parts of a mechanism that gives equal importance to each element of the staging. The presence of a man singing Amazonian chants imbues the performance with a multiplicity of scenic, artistic and content meanings, in addition to merging and dialoguing with the sonic architecture consisting of electronic compositions and sound design. This way the observer is part of a voyage in which he has the responsibility of receiving and rebuilding the meaning of the piece.
Credits
Performers: Ana Zavala, Marisol Otero, Francesca Sissa, Roldan Muñoz Rawa, Gonzalo del Águila;
Ikaros (songs): Rawa; Music: Santiago Pillado; Video: Juan Carlos Yanaura; Costume design: Ana Teresa Barboza; Text translation: Mary Ann Vargas; Photography: Musuk Nolte, Jason Sullivan; Technical director: Mariano Márquez; Sound technician: Trilce Naters; Executive production: Bruno Paino; Direction: Oscar Naters.
CONCEPTO Y CRÍTICA
Percy Encinas. Investigador Teatral y Director de proyectos en la Asociación Iberoamericana de Artes y Letras AIBAL.
ES
Vi anoche 'Ino Moxo' y lo agradezco. Integro, dirigido por Oscar Naters, ha vuelto a usar de disparador creativo un texto literario, como hiciera desde su mítico 'Y si después de tantas palabras' en 1989, o como sucediera para celebrar sus 20 años cuando tomó 'Ptyx' de Eielson. Esta vez, para celebrar sus 30 años, ha procesado la exigente novela de César Calvo: 'Las Tres Mitades de Ino Moxo y otros brujos de la Amazonía' (reeditada en 2011 por PEISA) para componer un espectáculo de momentos magistrales. Dialogando con recursos de su propia poética y lenguajes interdisciplinarios, el espectáculo desarrolla un tejido sensorial en el que confluyen los matriales plásticos de varias herencias pero con predominio de los amazónicos que encajan bien con el universo chamánico y los ritos de paso intercultural de la novela. Esta obra exige un espectador atento, concentrado, que acepte suspender la superficilidad del multitasking y desconectarse del vértigo de su cotidianilidad urbana.
Pero a cambio, 'Ino Moxo' le ofrece otra simultaneidad y otro vértigo de experiencias: de signos persuasivos, a veces indescifrables (sonidos, trazos visuales, energía corporal de los artistas en escena), otras veces reconocibles (citas textuales, fauna simbólica) pero siempre atractivos y estéticamente coherentes: el sublime canto de Rawa que atraviesa la obra es de una factura inolvidable. El escritor Luis Hernán Castañeda ha dicho sobre la novela de Calvo que sirve de hipotexto a la obra de Integro, lo siguiente: '...juega con las paradojas de la unidad y la multiplicidad. [...] se construye una comunidad [...] en la que cada voz está habitada por otras presencias, otras ánimas cuya armonía remite a la unidad cósmica. 'Si esto es posible de aplicar a la valoración del espectáculo, como sostengo, Integro ha conseguido entonces, un resultado valioso, una recreación feliz que se nutre de múltiples lenguajes para repropiárselos, procesarlos y contribuir con la extensión de sus sentidos. No pueden perdérsela en el Teatro Municipal de Lima, como parte del Festival de Artes Escénicas de Lima FAEL 2014.
JUSTIFICATION
EN
Ino Moxo has been premiered in 2016 and has received excellent reviews from Peruvian critics. It has succeeded in standing out as an unusual trasgressing play with high conceptual and scenic quality.
The exploration of Amazonian medicine traditions and its spiritual universe has received little approach, from artistic disciplines in Peru. Although in plastic arts there are some important exponents, in the performing arts we cannot find the same scenario. On the other hand, nowadays an interest concerning the Ayahuasca has started due to its undeniable therapeutic power. This has led to a new claim of indigenous wisdom, which adds to an important political dimension concerning this ancestral practice.
Therefore, there is an interest in these kind of plays, as well as a need of an identitary affirmation concerning the knowledge of Amazonian cultures, of public debate on the urgency of protecting the forest and the traditions it harbors, which opens a chance to mobilize this play in different scenic spaces. This interest does not only occurs in Peru, but it rather concers a planetary trend as an answer to the evident failure of such promises of welfare and fullness, which are typical of capitalism. Hance the demand for a better ecological awareness, respect for fundamental right, a reintegration of the body, mind and spirit, equality of people and more dedication to the inner word.
All these elements are in harmony with Ino Moxo proposal, which is why the play has elements that are highly valued. It raises important questions for social, cultural and personal processes, which are more urgent in the western world.