Pilar Hernández

Vanitas Libellum, by the ensemble La quinta del lobo (Wolf Interval), is an astounding performance of electronic still-lives, typewriter, guitar and piano that sets in motion a beautiful if somewhat macabre dance. It is a mesmerizing history of memento mori, a treatise about time on the making. The play might not be suitable for neurotics, though. Mr. Giraldo-Angel on the guitar and Mr. Gallo on the piano and keyboards play mercilessly with the emotions of the public. They press and tear open our chest to a series of nostalgic images built through video mapping and various interactive interfaces. Ms. Gil-Vrolijk  paints the stage with a delicate and painstakingly detailed allegories framing, projecting and echoing Ms. Hernandez as she enacts the dynamic fluidity of clock-watch precision, the reverberating fatigue of organic flow and the sensual cadence of dying. In this way, the play becomes a dense reflection, or perhaps rather, an amusing refraction on the instrumentalization of the arts. Virtuality evokes a reminiscence of the contagious feeling of bones, tendons and muscles vibrating at the tempo of the strings, vibrating unaided in the air and light. Yet amidst echoes of the impending death of movement resonates life, pullulating noisy life, gardened by an exquisitely polished production. But, this, as well, will pass. 

Teatro Multimedia en el Iberoamericano
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