“The nonsense of performance shows up. (...) I am not addicted to performances, I ignore if performance artists think that realism should be taken to those extremes and suffered on each and every performance, but El Infierno o el nacimiento de la clínica is presenting itself as theatre and then it’s another story. In theatre actors –and I believe these youngsters are preparing to be so- should be respected precisely on their bodily being which is their sole instrument, and stage-reality is achieved by other means; and one of them is precisely, well directed acting as another reality, which at a certain point, one of the actresses achieves, as in the story-telling of her surgery will she cooks, and that is full of intentionality and good acting. I hope that the members of the group understand it and, from now on, they reject submitting to the practices of which they were objects in the failed proposal of Rubén Ortiz.”[6]
Love,
Diego
[6] “El Infierno o el Nacimiento de la Clínica.” Critique by Olga Harmony. La Jornada, February 14th, 2008.
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