The stage in Act 2 is composed of 1000 loose wooden boards. It is an instable, unsecured and incontrollable surface on which 5 performers rave for almost an hour.
The work To resist is set up as a ritual to become savage or animalistic. It is an act of resistance to the commoditisation of our desires, the capitalisation of our bodies, the institutionalization of our relationships as well as the hierarchisation of forms.
A collectivist system of collaboration on equal terms enables the performers to adopt a new form of coexistence without supreme power of authority.
A barking Cimarron* dog welcomes the audience to warn or defend its herd, the performers. Once unleashed on the unstable set, the dog protects and guides the collective on its way to animalism.
The territory, at first impossible, gradually becomes potentially very physical — risk and uncertainty increase the degree of presence. The spectators feel the vibrations produced by the group of performers. The repeated, mantra-like rhythm and the vibrations contribute to sustain the resistance.

Resistance as a power to extend the possible. Resistance as a force that brings about vibratile consequences and unmanageable effects in the body. Resistance as a transforming agent. Resistance as an adapter and self-regulator.

* The ‘Cimarron Uruguayo’ descends from European dogs brought by early colonisers. They were domesticated animals that were later released or abandoned. The dogs adapted to living in the wild in Uruguay, and in time became numerous. The Cimarron’s survival story and fierceness has made it something of a national symbol in Uruguay.

Direction: Tamara Cubas
Light and sound design: Leticia Sckrycky
Performers: Santiago Turenne, Alina Ruiz Folini, Mariana Marchesano, Tamara Gómez y Bruno Brandolino
Ingested work: Matadouro by Marcelo Evelin
Premiere: Teatro Florencio Sanchez, Montevideo, Uruguay, August 2016
International Distribution: Key Performance