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basis. Because I want to share what it means to go through creation, also because one of the great objectives of the piece is the one that invites the spectator to stop and just observe, not to wait for an immediate result, to enjoy the vision of the present like the one that enjoys watching the Portuguese coast for hours. How am I going to try to transmit that calm to the spectator if I myself am not capable of finding the calm within the process?
2. On the other hand, new artistic visions must be given new forms of planning. As mentioned in the previous point, my vision of the scene and my most intimate need for what I want to see in it have changed radically in recent times. The restlessness and the search for new ways of arousing emotions in the viewer of the pieces have never ceased: how can we make the stage piece survive beyond the stage act itself, how can we transcend the figure of the interpreter and make it a performer, one more piece within the landscape, how can we give its absolute meaning to the piece beyond who performs it, who directs it, who created it? Can La Señorita Blanco be an alter ego that agglutinates all that anonymous thought? Years of questions and more questions that find answers in the choreography of images, in plastic arts and in color, in letting the theatrical piece flee from the conventional, from what it is supposed to be according to the standards set by contemporaneity, fashion, the mainstream, the market and increasingly dare to be what the artist imagines.
At that moment vertigo and fear say. "And now how are you going to make this work? How are you going to make the piece more and more like a pictorial work if what you really do is theatre, if you write and do theatre? Later, when you begin to see, with practice, study and research, that nothing is so absurd, that you are closer and closer to seeing what you longed to see on stage, then peace welcomes you and you let the landscapes and images sprout, without judging them, because everything blocks.
The radical changes that happened to my way of conceiving the scenic, are in great part due to my passion for painting, and all the process involved in that. . I discovered that by painting I was able not to intervene in my own material with the typical savage and critical judgment characteristic of the level of exigency you assume when you work in the practice in which you are supposed to be an expert. I discovered myself inhabiting freedom, peace and a deep compassion and love for the work, an excitement that comes from the guts and not from the intellect. On the other hand, I definitely understood that these emotions are the same ones that I feel when I sit in front of a work by Caravaggio or El Greco, something that comes from the entrails. I'm not saying that I'm not going to write, my pieces still have some text, but it's gone into the background and serves to complement the emotion implicit in movement and image. In fact, if I had to define in some way the work I do now, I would just say: IMAGE CHOREOGRAPHY.
That's why my current way of working focuses on my solo work first, during which time I design the composition of the piece using sketches, drawings and hand-molded models. In a later process, I include within the team a plastic artist who helps me with the physical construction of the landscape and in a final phase I include the interpreters within the plastic composition and work their movement within the scenic landscape.
Then I could go deeper and say that this choreography of images is composed of human bodies, lights and shadows and plastic elements or landscape elements (and if I think about it, I'm composing a painting).
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
For me, the concept of achieving a great art piece, would be the middle ground between emotion, intellectuality and aesthetics. Anyway, I think that the intellectual must compose a present but hidden layer. I've lost the need to look very intelligent in my texts, these was fashionable tendency in the past. Now I'm not interested anymore in proving anything.
Visual pieces exist to be observed, I don't do immersive theatre, but it is true that my work appeals directly to the thought and reflection of the spectators. But I'm not looking so much for them to understand, but for them to feel, although observing my work there are moments when they might think: "what the hell is going on?"
Thanks a lot for your time and for sharing your thoughts, Olga. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
Thank you so much for this opportunity.
At this moment I am working on the production of the piece Landscapewithinlandscape (1. Democracy) that I will release later this year.
The Landscapewithinlandscape project is a long-distance research consisting of three pieces, so I hope to be working on it for at least three years. And I also hope to start touring Europe, I'm on it.
After this? Then I have no clue.