State of Encounter

"New artistics experiences shorten unit of time with a beginning and ending that serves as framework of closure to the theatrical fiction,

to reach a dimension of the time shared in all the "senses" of the term, between the audience and the performers as an open-ended process

that does not already have beginning or end"

Hans-Thies Lehmann, Post-dramatic Theatre

We are performance artists and from other disciplines, which through a practice of composition, experimentation, and improvisation in real time, we seek to bring the viewer into a non orthodox sense of "seeing".

Our work in improvisation and composition is presented as an event, an atmosphere, an "Encounter", in which certain performance tools (movement, silence, sound, words, light and projection), do not follow a temporal development of an action or narration with his introduction, knot and outcome, but instead they invite the audience to experience another kind of contemplation and perception of the performance.

In this way arise new relationships between the composition time and the reception time, links configured by a break in time of the narrative. The breakdown of this temporary string is related to this new conception of the aesthetic time defined by the idea of "shared time". It is thus that we aim to challenge the audience to 'create', that "seeing" becomes a creative act and together participate in a simple way of alive communication.

We think on performance as a communal political act that aims to encourage a relationship with the motor that organizes the material of perception and consciousness, based on alternate designs instead of the ordinary and preset communication done by the mainstream.

A proposal of Encounter

At the end of the day, when our eyelids kiss each other, everything tends to chaos, the polyphony, the movement and its

continuous flow"

Everything starts with a need to find or to experience other ways to communicate or interact with oneself or with others (subject or object), this as a way to quest about situations or States that give a meaning to the practice of artistic life.

Against what begins to 'die' (precarious state), monotony, repetition, stagnation, comfort, conformism, impotence for action and follow the flow of energy, it activates finally a need of impulse, which through certain "expressive instruments" begins to find ways to operate, interact and implement a "State of encounter".

The emergence of the Encounter is done with the space and everything that contains (essences, reverbs, latent and present vibrations) but without longing by prefiguration or prejudgment. However we believe that this is held and exists because of a continuous practice, where we intend to make evident what all possess (essence, reverberation, vibration), and also differences that we have in common.

We believe in the artist as someone who lets a vital testimony of a sometimes hidden but detectable emergency in the performance development, with various tensions and densities of emotivity, which often give rise to unexpected States in the imaginary of the audience- those present". This "unexpected state" of the "seer" translates in an attempt to find a meaning to the experience, therefore it looks for models relating its varying visual culture and own subjectivity. Therefore, we try to reveal a kind of "power" (energy) that makes explicit our differences through an experience shared under different degrees of intensity.

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Intensity emerges, exists and has a different degree and level based one and his relationship with the other, then the (status) process consists to express the intensity generated in relation to the other, physical and energetically. This process carries with it a challenge for the performace, that strives to consecrate the ambivalence of the "No-equal".

From an evidence of precarity, for example, emerges the need to make visible the wounds that the "flesh" (body) has, this understood as a process, a variation of continuity, that encourages the possibility of envisage physical, emotional, energetic currents which includes the vital and forceful experience of daily basis, and that consequently shows the differences that make us common each other.

Our performance practice requires a research lab-space, that enable the Exchange, discussion and assimilation the finds of the encounter. An environment that convenes diverse "perspectives" on our practice is important to expand the universe of fascinations and interests (scope from the intellectual, emotional, conceptual, psychological, physical etc.), since this fosters new approaches of the artistic community around the "creative (art)-fact".

By community we refer to all those who from the practice, thinking and management seek reciprocity as an interweaving of differences and similarities, which sustains the "Encounter", as artistic pursuit. A certain sort of Co-Inmunity

Performance in Lima y Arequipa:

Centro Cultural de Espaa (2011)

Zona 30 (2012)

Casa Pausa (2012)

Voces con Sentido (2012)

Enana Blanca (Diciembre 2012)

Casona Editorial del Per (en Arequipa) (2013)

Agrrate Catalina (2013)

Lima Independiente Festival Internacional de Cine III (2013)

Christian Fras

Mnica Vergara

Christian Frias, graduated from the Theater School of the Pontifical Catholic University of Peru. He has participated in performance art workshops with teachers such as Gennadi Bogdanow (Meyerholds Biomechanics), coordination method with Piesn Kozla Theatre Company, Butoh with Yumiko Yoshioka, Minako Seki, and real-time composition with Joao Fiadeiro. In 2010 he worked as a performer and collaborator the renowned artist Robert Whitman, in the exhibition New Realism of the Reina Sofia Museum, Madrid. In 2011 he was awarded a performing arts scholarship granted by the Cultural Center of Spain in Lima. That same year he began the project State of Encounter with Monica Vergara performing in various venues in Lima and Arequipa during 2012-2013.

Monica Vergara, performance artist, dancer and teacher of contemporary dance and yoga y BA in Economics. Trained as a dancer in contemporary Dance with Cristina Velarde, Padfoot, Space Dance, Dance Live; Leg Ganzo in Argentina, Dance Space in New York and International workshops from the United States, Germany, France, Costa Rica and others. She worked as a performer in Felix Ruckerts Ring, and created Apus, a performance with uhayku" in 2009. In 2010 she was awarded to participate in "Environment: Latin American Contemporary Dance Summit" in Sau Paulo, Brasil, and in 2011 she creates "Re", a site specific performance in public spaces. That same year started the project State of Encounter with Christian Frias.