00:00:26.944 --> 00:00:38.414
"Life consists of burning up questions.
I cannot conceive any work of art as
having a separate existence from life itself "
 Antonin Artaud

00:00:38.956 --> 00:00:41.625
Our Father who art in heaven,

00:00:41.625 --> 00:00:44.587
hallowed be thy name,

00:00:44.587 --> 00:00:46.672
thy kingdom come,

00:00:46.672 --> 00:00:50.092
thy will be done,
on earth as it is in heaven...

00:00:51.093 --> 00:00:54.221
In the beginning, language didn’t exist.

00:00:54.221 --> 00:00:55.723
It had to be invented.

00:01:11.822 --> 00:01:14.366
Nobody knew what to say.

00:01:14.992 --> 00:01:16.869
Dance wasn’t known

00:01:19.413 --> 00:01:21.207
It had to be invented.

00:01:25.294 --> 00:01:29.924
In the beginning, audio was an unintelligible murmur.

00:01:50.111 --> 00:01:52.947
Nobody knew how to speak.

00:01:54.156 --> 00:01:56.575
The scream and the convulsion

00:01:56.784 --> 00:01:58.953
were the only signs

00:01:58.953 --> 00:02:02.123
we had to express ourselves.

00:02:21.767 --> 00:02:26.230
In those days, we had to Go through fire to find

00:02:26.230 --> 00:02:28.190
happiness.

00:02:33.362 --> 00:02:36.031
I don't know what happened.

00:02:36.574 --> 00:02:39.493
Where are those who were there?

00:02:42.079 --> 00:02:43.706
We had no fear.

00:02:43.706 --> 00:02:46.667
he heart was less afraid than it is now

00:02:47.793 --> 00:02:49.378
However...

00:02:49.795 --> 00:02:51.839
there is a greater loss.

00:02:55.009 --> 00:02:56.468
Insanity.

00:03:02.683 --> 00:03:06.437
VICENTE RUIZ
IN REAL TIME 

00:03:14.028 --> 00:03:16.989
Time precedes form.

00:03:17.948 --> 00:03:19.867
The time of history.

00:03:21.035 --> 00:03:23.621
Where we see ourselves as before.

00:03:24.163 --> 00:03:26.540
Resisting with vitality.

00:03:28.626 --> 00:03:31.962
Only those of us who lived through those years,

00:03:31.962 --> 00:03:36.091
truly know the dimension of its gravity.

00:03:36.884 --> 00:03:37.801
Look.

00:03:38.177 --> 00:03:41.430
It talks about when people can

00:03:41.430 --> 00:03:45.976
eliminate life from their death

00:03:45.976 --> 00:03:50.940
or death from...life from their death.

00:04:16.465 --> 00:04:21.470
In a way, Creating is an abyss and a suicide

00:04:21.470 --> 00:04:24.890
because it rips out all your energy,

00:04:24.890 --> 00:04:27.810
your guts, and displays them

00:04:27.810 --> 00:04:30.980
for all to see, full of light,

00:04:30.980 --> 00:04:32.106
or darkness.

00:04:32.314 --> 00:04:36.235
Your love came to me at night,

00:04:36.235 --> 00:04:39.571
and one clear day, it was gone.

00:04:39.571 --> 00:04:42.533
I curse the sun that took away

00:04:42.866 --> 00:04:47.037
your oaths and my faith...

00:04:49.707 --> 00:04:51.625
Art is inevitable.

00:04:51.709 --> 00:04:53.877
I have always wanted to protect

00:04:53.877 --> 00:04:55.379
my creative freedom.

00:04:55.379 --> 00:05:00.384
Art is the reflection support of what occurs

00:05:00.426 --> 00:05:04.388
subjectively inside each of us.

00:05:42.760 --> 00:05:49.224
Stop where Lise is still cutting.

00:05:52.936 --> 00:05:57.149
Then, where is love?

00:06:00.527 --> 00:06:01.779
Silence...

00:06:02.279 --> 00:06:03.614
you...

00:06:05.491 --> 00:06:07.076
two...

00:06:12.581 --> 00:06:15.542
It is love.

00:06:16.418 --> 00:06:20.172
I am in love with two.

00:06:20.172 --> 00:06:27.679
A veil in the late red
of the roses from which you came from

00:06:28.389 --> 00:06:34.478
I ask you, don't they want to know for two?

00:06:35.771 --> 00:06:38.023
For two.

00:06:46.949 --> 00:06:53.455
In Chile, the word “performance” wasn't used in the common way it is today.

00:06:53.455 --> 00:06:56.417
Until then, it was sort of academic,

00:06:56.417 --> 00:06:59.461
performed by certain artists in closed circles,

00:06:59.461 --> 00:07:01.255
very elitist.

00:07:01.380 --> 00:07:04.341
I submit one every day,

00:07:04.341 --> 00:07:07.302
I submit one every day,

00:07:08.053 --> 00:07:11.014
I submit one every day,

00:07:11.640 --> 00:07:14.601
I submit one every day,

00:07:14.685 --> 00:07:17.646
I submit one every day,

00:07:18.230 --> 00:07:21.191
I submit one every day,

00:07:30.784 --> 00:07:34.580
Performance is real time itself.

00:07:34.663 --> 00:07:40.043
It is the artist's sacrifice of revealing

00:07:40.043 --> 00:07:43.130
their life experience to others.

00:07:49.636 --> 00:07:53.432
My primary necessity became

00:07:53.432 --> 00:07:56.435
to reveal my body.

00:07:58.437 --> 00:08:05.235
And that...it was what I impregnated everyone
around me with this intention.

00:08:05.861 --> 00:08:08.947
And the things they inspired in me,

00:08:08.947 --> 00:08:13.494
I brought it, to the stage.

00:08:20.959 --> 00:08:23.212
In the year...

00:08:23.212 --> 00:08:25.714
1982

00:08:25.714 --> 00:08:30.427
Voice of Jaquleine Fresard visual artist:
I was 19, and Vicente was 23.

00:08:30.427 --> 00:08:32.971
I was in my first year of theater design,

00:08:32.971 --> 00:08:35.849
and Vicente was in his second year of acting.

00:08:36.808 --> 00:08:39.269
There was a mold for being a rebel.

00:08:39.269 --> 00:08:41.480
There was a mold for fighting against the dictatorship.

00:08:41.480 --> 00:08:43.440
There were various molds,

00:08:43.440 --> 00:08:45.609
and Vicente broke away from them.

00:08:45.859 --> 00:08:47.945
He was very original.

00:08:48.278 --> 00:08:52.533
It eroticized me that he was different from me.

00:08:53.408 --> 00:08:54.993
That’s when I fell in love with him.

00:08:54.993 --> 00:08:57.454
When I saw him with this whole...

00:08:57.454 --> 00:08:59.039
new perspective.

00:08:59.248 --> 00:09:02.000
The idea I had of art

00:09:02.000 --> 00:09:04.795
that art itself had to be transformed.

00:09:05.337 --> 00:09:08.590
Therefore, the medium had to be transformed.

00:09:08.590 --> 00:09:10.842
And that's what I did.

00:09:11.093 --> 00:09:13.470
I transformed myself.

00:09:27.568 --> 00:09:32.155
In “The Brides” (1983)
was the first time I influenced others.

00:09:32.155 --> 00:09:34.950
I transformed them through materiality.

00:09:34.950 --> 00:09:37.828
It was the first time I discovered

00:09:37.828 --> 00:09:41.290
that I could impact an audience.

00:09:58.432 --> 00:10:04.563
The Brides
(1983)

00:11:21.765 --> 00:11:26.019
Hummingbird, hummingbird

00:11:26.019 --> 00:11:28.689
wanted to marry

00:11:28.689 --> 00:11:31.483
Would go to live by the seaside...

00:11:31.483 --> 00:11:34.277
she had no shoes...

00:11:36.738 --> 00:11:39.074
Hummingbird, hummingbird

00:11:39.074 --> 00:11:41.702
wanted to marry

00:11:41.702 --> 00:11:45.080
Would go to live by the seaside...

00:12:12.899 --> 00:12:15.527
I met Vicente,

00:12:15.527 --> 00:12:17.529
or he met me,

00:12:17.529 --> 00:12:22.951
 was towards the end of final year at
the Fernando Gonzalez Academy,

00:12:22.951 --> 00:12:25.662
He went to see the final rehearsal

00:12:25.662 --> 00:12:27.748
voice of
consuelo castlilo
actor
                          

00:12:27.748 --> 00:12:31.334
It was like, if someone was going
to kidnap you somehow,

00:12:31.334 --> 00:12:33.503
capture you.

00:12:37.799 --> 00:12:41.470
He approached you with so much desire,

00:12:41.470 --> 00:12:43.430
such desire and willingness.

00:12:43.430 --> 00:12:45.182
I felt that energy,

00:12:45.182 --> 00:12:46.767
like nothing could stop him.

00:12:46.767 --> 00:12:49.478
And that his purpose, in this case,

00:12:49.478 --> 00:12:51.646
was to conquer me,

00:12:51.646 --> 00:12:52.522
create,

00:12:52.522 --> 00:12:55.192
and that really attracted me.

00:13:07.329 --> 00:13:14.211
 Voice of Ramón Griffero Playwright:
Vicente Ruiz emerged as an author of an approach
to performing arts,

00:13:14.211 --> 00:13:17.172
or to performance,

00:13:17.172 --> 00:13:21.301
that stimulates the senses,

00:13:21.301 --> 00:13:24.346
and visually,

00:13:24.346 --> 00:13:28.517
the audience watching Vicente’s work

00:13:28.517 --> 00:13:31.812
had never seen anything like it.

00:13:31.812 --> 00:13:36.358
And from there, he opens our perception to other

00:13:37.526 --> 00:13:40.779
ways of representation.

00:14:21.653 --> 00:14:23.864
Where did all these people come from?

00:14:23.864 --> 00:14:27.492
This audience, We knew we could draw an audience,

00:14:27.492 --> 00:14:30.829
that Vicente could attract a huge audience,

00:14:30.829 --> 00:14:35.458
that a lot of people wanted to experience
this feeling of being alive.

00:14:35.458 --> 00:14:38.461
The atmosphere was like a big party,

00:14:38.461 --> 00:14:42.340
where the important thing was

00:14:42.340 --> 00:14:47.095
to move and shake up the audience

00:14:47.095 --> 00:14:51.224
and break all the rules.

00:15:05.447 --> 00:15:10.744
Sacred scripture! Sacred scripture!

00:15:12.454 --> 00:15:15.123
Nothing more, nothing more...

00:16:05.131 --> 00:16:09.302
From there, this idea of a dissident tribe arose,

00:16:09.302 --> 00:16:11.388
where we came together

00:16:11.388 --> 00:16:14.140
to create with new vitality.

00:16:14.140 --> 00:16:17.352
However, we were the first Pinochet boys

00:16:17.352 --> 00:16:21.398
The first ones raised under a dictatorship

00:16:56.808 --> 00:17:01.521
Hippolytus
rehearsal

00:17:04.357 --> 00:17:11.114
Hippolytus gave me the possibility to discover this character

00:17:11.114 --> 00:17:15.577
with a hidden underworld of relationships

00:17:15.577 --> 00:17:17.412
only with men.

00:17:24.586 --> 00:17:28.965
And it created a very strong impulse in me.

00:17:39.893 --> 00:17:44.898
This fascination with someone of your own sex

00:17:44.898 --> 00:17:48.693
already defined me as a symbol.

00:17:54.532 --> 00:17:57.994
We don’t talk about desire, we create it.

00:17:57.994 --> 00:18:03.583
Perhaps I wanted to be part of a world
where I felt like I belonged.

00:18:03.583 --> 00:18:07.545
Erotically, I was moving towards it

00:18:07.545 --> 00:18:11.549
but it wasn’t a real possibility.

00:18:13.384 --> 00:18:19.933
Good morning sadness

00:18:19.933 --> 00:18:27.524
Friend of my great melancholy

00:18:28.733 --> 00:18:35.532
you know what it was

00:18:35.990 --> 00:18:44.499
life, the sun, the sky of my days.

00:18:44.499 --> 00:18:47.544
Hippolytus
(1984)

00:18:48.586 --> 00:18:51.673
The Instinct is liberating.

00:18:51.673 --> 00:18:55.844
That’s why fascism uses sexual repression

00:18:55.844 --> 00:18:59.514
to direct and diminish people's drive,

00:18:59.514 --> 00:19:01.808
and control them.

00:19:31.588 --> 00:19:38.136
The development of sexuality is absolutely anti-fascist.

00:19:38.136 --> 00:19:43.141
That is why homosexuality appears as a state of dissidence

00:19:43.141 --> 00:19:46.227
in the performances of the 80s.

00:19:46.227 --> 00:19:48.980
When I staged it,

00:19:49.022 --> 00:19:52.358
I did it in secret.

00:19:57.447 --> 00:20:00.700
I take pleasure in hating women

00:20:01.034 --> 00:20:02.952
It was not unconscious at all.

00:20:02.952 --> 00:20:05.914
I did it consciously, but I didn't say it.

00:20:06.831 --> 00:20:09.209
My partner then was Consuelo,

00:20:09.209 --> 00:20:12.503
and she was the protagonist of my life

00:20:12.503 --> 00:20:13.922
and my work.

00:20:29.646 --> 00:20:33.483
The passion that dominates me

00:20:34.234 --> 00:20:37.237
has set me on a path

00:20:37.820 --> 00:20:40.490
that is no longer a path.

00:20:45.703 --> 00:20:49.332
I think Vicente always put you somehow

00:20:49.332 --> 00:20:51.167
in a physical situation

00:20:51.167 --> 00:20:55.588
where you talked about the situation you were experiencing.

00:21:09.936 --> 00:21:12.855
At the end of Hippolytus

00:21:12.855 --> 00:21:16.276
a very beautiful woman came up to me and said:

00:21:16.276 --> 00:21:19.362
“Come and dance with me".

00:21:28.121 --> 00:21:29.914
She was a master,

00:21:29.914 --> 00:21:31.249
Veronica Urzua,

00:21:31.457 --> 00:21:35.795
I consider her one of the greatest contemporary dancers

00:21:35.795 --> 00:21:38.339
this country has ever had.

00:21:42.218 --> 00:21:45.430
What I didn’t know was that I was a dancer.

00:21:45.430 --> 00:21:50.059
Veronica guided me towards a methodology that manifested

00:21:50.059 --> 00:21:52.895
something born from oneself.

00:21:52.895 --> 00:21:55.732
And that was "Live".

00:21:59.110 --> 00:22:03.573
Live
(1985)

00:22:58.211 --> 00:23:01.381
I accentuated the sound of the bodies

00:23:01.381 --> 00:23:03.925
and the choreography.

00:23:24.779 --> 00:23:28.825
It impacted me a lot because for me it was the perfect performance.

00:23:28.825 --> 00:23:32.495
Voice of Titín Moraga musician performer:
We worked and rehearsed

00:23:32.495 --> 00:23:34.163
for three months every day

00:23:34.163 --> 00:23:36.332
with such discipline and rigor,

00:23:36.332 --> 00:23:40.461
and we believed we were supermen,

00:23:40.461 --> 00:23:45.216
Dancing with such devotion.

00:23:45.216 --> 00:23:48.219
Every rehearsal was exhausting

00:23:48.219 --> 00:23:50.721
and brutally disciplined.

00:23:55.309 --> 00:24:01.232
"Live" sought to create the first elements

00:24:01.232 --> 00:24:03.985
of the methodology of real time.

00:24:06.737 --> 00:24:12.452
I would give them a list of series right before the performance,

00:24:12.452 --> 00:24:15.621
so they only had a few minutes to memorize them,

00:24:15.621 --> 00:24:18.749
to emphasize the element of real time,

00:24:18.749 --> 00:24:20.418
of experiencing the moment,

00:24:20.418 --> 00:24:22.545
and this created immense tension.

00:24:22.545 --> 00:24:29.844
The dramatic tension came from the real tension.

00:24:53.784 --> 00:25:02.793
"Live" was a tribute to performance in real time.

00:25:06.088 --> 00:25:11.302
We had the unique opportunity to do it.

00:25:49.966 --> 00:25:52.218
It was a great night,

00:25:52.218 --> 00:25:56.347
I dedicated it to Patricia Rivadeneira,

00:25:56.347 --> 00:26:01.352
who was a woman I met in that period

00:26:01.352 --> 00:26:04.272
and who accompanied me a lot.

00:26:14.740 --> 00:26:18.869
Voice of Patricia Rivadeneira actress:
I met Vicente when I was at the Fernando Gonzalez
School of Theater.

00:26:18.869 --> 00:26:21.664
I was...

00:26:21.664 --> 00:26:25.167
acting in a Strindberg play,

00:26:25.167 --> 00:26:30.798
it was my first lead role in a play with professional actors,

00:26:30.798 --> 00:26:33.009
I was very young.

00:26:33.009 --> 00:26:34.510
Vicente came to see me

00:26:34.510 --> 00:26:36.554
and I fell in love with him quickly.

00:26:36.554 --> 00:26:42.268
I started to embrace this new philosophy and way of life

00:26:42.268 --> 00:26:44.979
of breaking away

00:26:44.979 --> 00:26:50.276
but also embracing an extraordinary vitality.

00:26:51.652 --> 00:26:54.572
I want to tell all the people out there...

00:26:54.572 --> 00:26:56.991
that they are unfair!

00:26:57.908 --> 00:27:02.121
- Why are they unfair?
- Because they want everything from you.

00:27:02.121 --> 00:27:07.918
And one is such a fool,
that you inevitably give it all away.

00:27:10.921 --> 00:27:13.758
That’s it. It’s started. People are here.

00:27:13.758 --> 00:27:14.634
Let's go!

00:27:14.634 --> 00:27:16.552
Wait for it!

00:27:18.095 --> 00:27:19.722
Okey, Tahia...

00:27:19.722 --> 00:27:21.807
We have to wait for it to be full of people.

00:27:21.807 --> 00:27:22.516
Kids!

00:27:22.516 --> 00:27:25.561
Turn on the lights.

00:28:26.831 --> 00:28:29.709
In Medea, the conflict is the ambition for power.

00:28:29.709 --> 00:28:32.670
With the social shift during the dictatorship

00:28:32.670 --> 00:28:36.048
And the establishment of the 1980 constitution,

00:28:36.048 --> 00:28:38.634
the notorious Chicago Boys appeared,

00:28:38.634 --> 00:28:43.139
sons of the conservative right
who studied economics in the United States,

00:28:43.139 --> 00:28:46.058
the same people who have remained in government,

00:28:46.058 --> 00:28:49.395
the heirs to power.

00:29:41.614 --> 00:29:45.242
 Don't distract me, I am discovering
the cure for cancer.

00:29:47.536 --> 00:29:49.538
Are you recording?

00:29:49.538 --> 00:29:50.498
No.

00:29:50.956 --> 00:29:53.959
Voice of Cecilia Aguayo dancer performer:
Vicente knew how to choose people,

00:29:53.959 --> 00:29:56.921
so there was tremendous affinity,

00:29:56.921 --> 00:29:59.173
communion, infatuation.

00:29:59.173 --> 00:30:01.091
Vicente demanded that from you,

00:30:01.091 --> 00:30:02.760
to work with him,

00:30:02.760 --> 00:30:04.720
that’s what he looked for.

00:30:05.429 --> 00:30:08.766
They were all very intense people

00:30:08.766 --> 00:30:11.268
that committed themselves to this director.

00:30:11.268 --> 00:30:13.938
There was no acting as such,

00:30:13.938 --> 00:30:17.817
something else called “performance”, was created.

00:30:18.818 --> 00:30:22.988
Many of these artists were performing for the first time.

00:30:22.988 --> 00:30:25.825
The Pinochet Boys played for the first time,

00:30:25.825 --> 00:30:29.411
Javiera Parra sang for one of the first times.

00:30:29.411 --> 00:30:32.414
Carlos Cabezas and many others.

00:30:32.414 --> 00:30:35.376
It was an initiatory experience for everyone,

00:30:35.376 --> 00:30:38.128
especially for me.

00:31:14.748 --> 00:31:17.793
When we had these beautiful people performing,

00:31:17.793 --> 00:31:20.796
dancing these arduous choreographies

00:31:20.796 --> 00:31:23.173
it produced a beauty that was

00:31:23.173 --> 00:31:25.885
on the verge of rupture.

00:31:25.885 --> 00:31:28.387
And that is the tragedy.

00:31:39.106 --> 00:31:45.779
Theorem
(1987)

00:31:46.322 --> 00:31:48.449
The hero doesn't change.

00:31:48.449 --> 00:31:53.537
For him, he must carry out his duty.

00:31:53.537 --> 00:31:56.206
He heads straight to fulfill his destiny.

00:31:56.206 --> 00:31:58.626
Although he knows he may die,

00:31:58.626 --> 00:32:01.587
or destroy those he loves.

00:32:13.557 --> 00:32:16.727
"Mishima" happened in a place,

00:32:16.727 --> 00:32:18.562
now I don't know if it still exists,

00:32:18.562 --> 00:32:22.566
near Tobalaba, later called Tobalaba Cinema,

00:32:22.566 --> 00:32:26.195
and Patricia Rivadeneira was working with us for the first time,

00:32:26.195 --> 00:32:30.491
we were all a little older than her, she was 19.

00:32:39.583 --> 00:32:40.751
Patricia...

00:32:40.751 --> 00:32:41.877
Huh?

00:32:42.503 --> 00:32:44.880
What do you want to tell me?

00:32:50.469 --> 00:32:52.513
You are not reaching over there

00:32:52.513 --> 00:32:53.889
I can't hear.

00:32:53.889 --> 00:32:55.182
You can’t hear?

00:32:55.182 --> 00:32:57.017
No, it’s like...

00:33:01.271 --> 00:33:04.233
Mishima
(1986)

00:34:29.193 --> 00:34:32.863
Some of the situations

00:34:32.863 --> 00:34:35.574
 became triangles

00:34:35.574 --> 00:34:38.535
Some relationships within the group

00:34:38.535 --> 00:34:41.413
made it possible to interpret

00:34:41.413 --> 00:34:43.832
what was happening between people

00:34:43.832 --> 00:34:45.417
in fiction

00:34:45.417 --> 00:34:47.586
and in reality.

00:35:03.060 --> 00:35:06.063
When there has been love it is very difficult

00:35:06.063 --> 00:35:09.358
to let it die without resolving it.

00:35:09.358 --> 00:35:11.693
I have always believed that

00:35:11.693 --> 00:35:12.986
to be free  

00:35:12.986 --> 00:35:15.280
you need to be able to endure

00:35:15.280 --> 00:35:16.657
and experience

00:35:16.657 --> 00:35:18.158
sorrow.

00:35:33.590 --> 00:35:35.676
As an actor

00:35:35.676 --> 00:35:40.347
who was part of that whole dynamic, not to say game,

00:35:40.347 --> 00:35:43.809
I believed that somehow I could

00:35:43.809 --> 00:35:47.312
speed up a process, instead of gettng stuck,

00:35:47.312 --> 00:35:49.022
an emotional process.

00:35:49.022 --> 00:35:53.402
Theater allows you to experience so much emotionally,

00:35:53.402 --> 00:35:57.781
so I thought, instead of three months, I Will create a staging

00:35:57.781 --> 00:35:59.116
in one day.

00:35:59.116 --> 00:36:05.747
I’m not sure it worked because the sadness was ingrained in you too.

00:37:13.357 --> 00:37:18.070
Santiago, Sunday, November 9th, 1986, 9.00 am,

00:37:18.070 --> 00:37:20.948
A letter from Patricia Rivadeneira.

00:37:20.948 --> 00:37:22.241
Darling,

00:37:22.241 --> 00:37:24.243
I've just got home,

00:37:24.243 --> 00:37:26.411
what a naughty girl.

00:37:26.411 --> 00:37:27.871
I want to propose something,

00:37:27.871 --> 00:37:29.998
let’s stay together

00:37:29.998 --> 00:37:31.208
and see what happens.

00:37:31.208 --> 00:37:34.002
Let’s not be away from each other any longer.

00:37:34.002 --> 00:37:36.880
I know that you’d fall in love with me more than ever.

00:37:36.880 --> 00:37:37.965
Do you believe me?

00:37:37.965 --> 00:37:42.469
I know you doubt it because it is you who is making this a love-tragedy

00:37:42.469 --> 00:37:45.222
But you'll have to give me a chance.

00:37:45.222 --> 00:37:47.557
Patricia.

00:38:04.283 --> 00:38:08.370
They run

00:38:10.872 --> 00:38:15.127
Without asking

00:38:17.796 --> 00:38:27.222
Crying real tears

00:38:30.225 --> 00:38:34.688
and here I am

00:38:37.232 --> 00:38:41.695
In my corner

00:38:44.239 --> 00:38:52.956
Reading books on revolution

00:38:55.334 --> 00:39:00.047
Because I'm the coward

00:39:00.047 --> 00:39:06.178
I am the coward, I am

00:39:09.056 --> 00:39:14.311
Is that I am the coward,

00:39:14.311 --> 00:39:22.527
I am the coward, I am

00:39:31.661 --> 00:39:35.624
I think of our story

00:39:35.624 --> 00:39:37.876
There was one love

00:39:37.876 --> 00:39:39.086
and rupture.

00:39:39.086 --> 00:39:43.131
The breakup has to do with Vicente falling out of love with me,

00:39:43.131 --> 00:39:46.802
or he decided to experience his homosexuality

00:39:52.808 --> 00:39:55.852
Don’t forget, only three performances.

00:39:55.852 --> 00:39:57.354
Antigone.

00:39:57.354 --> 00:40:01.233
Teleton Theater, Friday 13th
and Saturday 14th of September.

00:40:01.233 --> 00:40:03.860
Don't forget. Santiago will be divided

00:40:03.860 --> 00:40:07.447
between those who saw Antigone,
and those who didn’t.

00:40:12.994 --> 00:40:16.915
Antigone
(1991)

00:41:09.092 --> 00:41:10.051
Creon.

00:41:10.051 --> 00:41:15.140
The Security Service informs of
a conspiracy to remove you from power.

00:41:15.599 --> 00:41:20.937
You, Creon! Who brought democracy
to this country of fools!

00:41:29.863 --> 00:41:32.949
When we started Antigone

00:41:32.949 --> 00:41:37.746
various circumstances coincided that brought this group together

00:41:37.746 --> 00:41:39.414
to perform this piece.

00:41:39.414 --> 00:41:42.375
"Los Prisioneros" canceled their tour.

00:41:54.262 --> 00:41:58.683
In my mind, some god is angry at me.

00:41:58.850 --> 00:42:05.023
Severely he struck.
And along wild paths, he pushed me...

00:42:05.899 --> 00:42:09.361
Vicente had a history of making Greek tragedies.

00:42:09.361 --> 00:42:14.950
He’d secluded himself in the mountains and hadn’t worked for a long time.

00:42:15.742 --> 00:42:18.203
So I talked to him

00:42:18.203 --> 00:42:20.455
and convinced him to go back to work

00:42:20.455 --> 00:42:22.123
and try to

00:42:22.123 --> 00:42:24.501
make Antigone with Jorge Gonzalez

00:42:24.501 --> 00:42:27.420
as Creon, and me as Antigone.

00:43:08.044 --> 00:43:12.632
Antigone was an emblematic character for that time

00:43:12.632 --> 00:43:16.678
because the establishment began to acknowledge

00:43:16.678 --> 00:43:22.267
what we all knew about the prisoners,
the disappeared, the torture, etc.

00:43:22.267 --> 00:43:25.604
She wanted to divide us in our own home.

00:43:27.272 --> 00:43:29.774
I hate you!

00:43:38.366 --> 00:43:40.035
Guards!

00:43:40.035 --> 00:43:41.578
Take her away!

00:43:41.578 --> 00:43:44.205
Bury her alive!

00:43:45.665 --> 00:43:48.627
May this serve as an example for all!

00:44:03.141 --> 00:44:06.645
Antigone!

00:44:08.229 --> 00:44:11.566
Power prevents Antigone

00:44:11.566 --> 00:44:13.610
from burying her brother.

00:44:13.610 --> 00:44:16.529
You violated my laws.

00:44:16.529 --> 00:44:20.575
If you set me free, I'll defy your injustices again,
you son of a bitch!

00:45:19.259 --> 00:45:21.344
We all have tragedy,

00:45:21.344 --> 00:45:22.512
all of us,

00:45:22.512 --> 00:45:25.098
being a hero contributes nothing

00:45:25.098 --> 00:45:27.142
dying for a cause contributes nothing,

00:45:27.142 --> 00:45:28.059
what does contribute is

00:45:28.059 --> 00:45:30.562
doing something, like killing someone

00:45:30.562 --> 00:45:32.689
but saving yourself.

00:45:32.689 --> 00:45:34.274
Not dying.

00:45:35.150 --> 00:45:37.068
Cleopatras wouldn’t have existed

00:45:37.068 --> 00:45:41.156
if we hadn’t taken part in Vicente's performances.

00:45:41.156 --> 00:45:43.074
Vicente, like many great artists,

00:45:43.074 --> 00:45:45.076
is a great master.

00:45:47.078 --> 00:45:47.996
Babes...

00:45:47.996 --> 00:45:48.913
Girls!

00:45:48.913 --> 00:45:49.664
Chicks!

00:45:49.664 --> 00:45:50.498
Girls!

00:45:50.749 --> 00:45:51.541
Babes...

00:45:51.541 --> 00:45:52.167
Girls!

00:45:52.167 --> 00:45:53.710
Chicks! Chicks!

00:45:53.918 --> 00:45:54.544
Babes.

00:45:54.711 --> 00:45:55.503
Babes!

00:45:55.837 --> 00:45:57.213
The invader has arrived.

00:45:57.213 --> 00:46:00.675
And he wants to take away... that.

00:46:05.722 --> 00:46:07.849
The man who rules us

00:46:07.849 --> 00:46:11.853
remember his power, never go against him!

00:46:11.853 --> 00:46:15.273
Always with him, with him!

00:46:16.274 --> 00:46:19.486
You are selling yourself, damn you!

00:46:19.486 --> 00:46:20.779
You are selling yourself.

00:46:32.832 --> 00:46:34.459
You like him,

00:46:34.459 --> 00:46:36.336
he scares you,

00:46:36.336 --> 00:46:38.421
You are selling yourself for power,

00:46:38.421 --> 00:46:40.381
You are selling yourself for money,

00:46:40.381 --> 00:46:42.008
You are selling yourself out of fear.

00:46:42.008 --> 00:46:44.344
Take your gun then!

00:46:44.344 --> 00:46:46.554
Take your gun then!

00:48:03.131 --> 00:48:05.133
Democracy returned

00:48:05.133 --> 00:48:08.469
and there was no campaign of any kind

00:48:08.469 --> 00:48:11.890
to raise awareness or support those with AIDS and HIV.

00:48:11.890 --> 00:48:17.353
Avant-garde designers, performers, and artists came together

00:48:17.353 --> 00:48:22.233
for a fashion show at the Fine Arts museum
 to draw attention to the issue

00:48:22.233 --> 00:48:26.154
and we did this parade that was about minorities

00:48:26.154 --> 00:48:27.280
sexual minorities and

00:48:27.280 --> 00:48:28.948
ethical minorities.

00:49:01.814 --> 00:49:04.692
Everything that
was going to happen, did,

00:49:04.692 --> 00:49:08.112
the erotic and the political came together.

00:49:08.112 --> 00:49:10.406
In my case,

00:49:10.448 --> 00:49:13.701
my performance was also about

00:49:13.701 --> 00:49:17.121
something related to that era,

00:49:17.121 --> 00:49:18.289
to a change,

00:49:18.289 --> 00:49:21.042
leaving a period of suffering behind

00:49:21.042 --> 00:49:22.919
and lowering Christ from the cross.

00:49:24.420 --> 00:49:26.255
Abandoning

00:49:26.255 --> 00:49:29.217
that state of punishment.

00:49:30.677 --> 00:49:33.930
What happened was that

00:49:33.930 --> 00:49:37.809
the performance erased everything else.

00:49:41.938 --> 00:49:46.234
"BARBARITY AT THE MUSEUM OF FINE ARTS"

00:49:46.234 --> 00:49:49.821
"GROTESQUE "FASHION SHOW"
TO BENEFIT AIDS SUFFERERS"

00:49:49.821 --> 00:49:57.954
SCANDAL AT THE MUSEUM

00:50:31.696 --> 00:50:33.364
The arrival of democracy

00:50:33.364 --> 00:50:35.700
was something we all hoped for,

00:50:37.493 --> 00:50:39.287
but it changed what life meant,

00:50:39.287 --> 00:50:42.290
why we were doing what we were,

00:50:42.290 --> 00:50:45.918
we were resisting under a dictatorship,

00:50:45.918 --> 00:50:47.754
then the dictatorship disappeared,

00:50:48.046 --> 00:50:50.381
and the democracy that arrived

00:50:50.381 --> 00:50:52.759
couldn't be criticized

00:50:52.759 --> 00:51:00.099
because although this Sleeping Beauty
woke up with her teeth all broken,

00:51:00.099 --> 00:51:03.436
we had waited so long that

00:51:03.436 --> 00:51:07.315
we accepted everything
the transition brought.

00:51:16.783 --> 00:51:20.286
The biggest dissatisfaction during the dictatorship was

00:51:20.286 --> 00:51:21.370
staying alive.

00:51:21.370 --> 00:51:22.705
We had to live.

00:51:22.705 --> 00:51:26.334
We had to

00:51:26.334 --> 00:51:30.046
stay alive and not dying.

00:51:36.427 --> 00:51:39.680
I think living under a dictatorship

00:51:39.680 --> 00:51:42.183
and having to deal with all that

00:51:42.183 --> 00:51:44.477
gave us a reason.

00:51:49.440 --> 00:51:52.527
We had educated ourselves

00:51:52.527 --> 00:51:55.321
without the need for power.

00:51:55.321 --> 00:51:58.825
It was a profoundly rebellious act.

00:51:58.825 --> 00:52:00.910
And then we were left...

00:52:00.910 --> 00:52:02.495
disconnected,

00:52:02.495 --> 00:52:07.500
we went from fear of the dictatorship to the fear of...

00:52:07.500 --> 00:52:10.711
“Who am I?”

00:52:28.729 --> 00:52:34.402
Society chooses neoliberalism as
a mechanism for improvement

00:52:34.402 --> 00:52:41.868
and yet it is precisely what will destroy us.

00:53:01.596 --> 00:53:06.142
There was a sense of sadness among us

00:53:06.142 --> 00:53:09.395
I think because of this separation

00:53:09.395 --> 00:53:12.440
after what we had lived through,

00:53:12.440 --> 00:53:14.567
we had found each other

00:53:14.567 --> 00:53:18.487
after a lifetime alone.

00:53:29.832 --> 00:53:35.254
Everyone has their own experience of that time,

00:53:35.254 --> 00:53:39.508
and it was good to take distance.

00:53:40.676 --> 00:53:43.346
When we separated

00:53:43.346 --> 00:53:47.558
it was also a declaration of the beginning of a rebellion,

00:53:47.558 --> 00:53:52.438
because we separated and never reunited in the same way.

00:54:06.535 --> 00:54:08.704
I was already distancing myself from Vicente

00:54:08.955 --> 00:54:10.331
to pursue my career.

00:54:10.331 --> 00:54:12.875
It was never discussed, it happened naturally.

00:54:19.507 --> 00:54:22.176
When we tried to find stability,

00:54:22.176 --> 00:54:25.054
we found rupture.

00:54:59.088 --> 00:55:02.550
I feel like we’re a generation

00:55:02.550 --> 00:55:07.138
that has become outdated,

00:55:07.138 --> 00:55:11.851
we’re not the ones arriving,

00:55:11.851 --> 00:55:15.730
we’re the ones leaving.

00:56:01.525 --> 00:56:04.487
I still live in the same world,

00:56:04.528 --> 00:56:06.906
I lead a sensitive life,

00:56:06.906 --> 00:56:09.992
the best life one can have.

00:56:09.992 --> 00:56:12.828
It’s almost a dream life because

00:56:12.828 --> 00:56:15.122
it’s very pleasurable,

00:56:15.122 --> 00:56:20.127
and although we could say life was precarious for us back then,

00:56:20.127 --> 00:56:23.589
the truth is that I have lived it all,

00:56:23.589 --> 00:56:26.884
I have never felt rich or poor.

00:56:26.884 --> 00:56:30.262
I feel like...

00:56:30.262 --> 00:56:32.223
an artist, that’s all.

00:56:47.571 --> 00:56:54.203
The Disappearance of Time
(2021)

00:56:54.203 --> 00:57:00.626
Today, I don't dance the same way I used to.

00:57:00.626 --> 00:57:02.378
But, I am...

00:57:02.503 --> 00:57:04.380
the same identity

00:57:04.380 --> 00:57:07.091
dancing in different moments

00:57:07.633 --> 00:57:09.009
of its body.

00:57:09.009 --> 00:57:14.140
I feel that my body will continue until
the last possible moment to do

00:57:14.140 --> 00:57:17.852
the mix of something that began when I was born

00:57:17.852 --> 00:57:19.520
and that ends with death.

00:57:19.520 --> 00:57:22.481
With radical disappearance.

00:57:44.295 --> 00:57:45.796
To create

00:57:45.796 --> 00:57:47.840
you must break out of the cage.

00:57:47.840 --> 00:57:50.634
That is present in performance.

00:57:50.634 --> 00:57:54.555
Performance allows us to break time.

00:57:54.555 --> 00:57:56.599
The time of agreement.

00:57:56.599 --> 00:57:58.726
The time of synthesis.

00:57:58.726 --> 00:58:02.438
When artists adopt this language,

00:58:02.438 --> 00:58:04.315
they allow themselves to

00:58:04.315 --> 00:58:07.359
perform original acts.

00:58:28.088 --> 00:58:31.926
And the most original act that exists is your body.

00:58:31.926 --> 00:58:33.093
Your body is unique.

00:58:33.093 --> 00:58:35.804
Your identity is unique.

00:58:35.804 --> 00:58:37.765
You can access models

00:58:37.765 --> 00:58:40.059
with your own original approach

00:58:40.059 --> 00:58:42.102
that may not change the world

00:58:42.102 --> 00:58:44.396
but does offer new perspectives.

01:01:14.963 --> 01:01:26.517
A large part of the archives of this film exist thanks to the records of the filmmaker Enzo Blondel who actively participated in the work of Vicente Ruiz between 1983 and 1998. The audiovisual material is kept in the museum of memory and human rights, also on the website https://www.archivosdac.com