A travel from Costa Rica to Montevideo along the paths of femininity. Mujeres que cantan

Abstract

I start the article from the analysis of Mujeres que Cantan, a performance guided and directed by Estíbaliz Solís Carvajal from Costa Rica and carried on by the collective group La Tijera in Montevideo, Uruguay with its premier during the pandemic. In this performance I observe the dialogue between a Chilean gender specialist, Alejandra Castillo and the French philosopher Jacques Ranciére. The observation that comes up is if the show was thought only for ten people for the scenic space or for the pandemic circumstances. This reflection is due to the esthetic circumstances regarding other contemporary arts. There is a dialogue between hypothetical feminists and a questionable field made by scenic materials which I want to put in evidence in order to make theoretical conclusions about what the theatre is today, its projection and the voices this dialogue allow. The images mess up the understanding closures, embrace the invisible and mislead its senses, putting the square frame into oblique also the use of mediatic language in the writing are the reason for this alteration and fails the voice. In this case, it’s the female’s voice.