Posts Tagged ‘Luis Garay’

Effort Creates Fiction: Exploring the works of Luis Garay

Posted April 13th, 2016

This weekend Colombian born, Argentine based choreographer and director Luis Garay brings Maneries to FringeArts, April 14–16 (tickets/info). A solo created in collaboration with, and performed by, dancer Florencia Vecino, the dance sees the body as a cipher of linguistic material. Drawing on a catalogue of “gestures, pictures, poses, and sculptures,” Maneries explores the notion of universality and specificity existing in tandem. Vecino strives to represent all bodies through the employment of archetypal and recognizable images, and yet is still bound to her own body—its strengths, its limitations.

Though Garay’s renown is just beginning to reach beyond South America, he has been active as a director and choreographer for many years now. Below are a few examples of his notable shows and collaborations.

Ouroboro (2010)

Ouroboro is an always changing system. A mechanism of directions, levels and proximities. Ouroboro explores new syntaxes of new gestures.”

Similar to Maneries, Ouroboro  employs the body as a tool for language, representing various hieroglyphs. According to Garay, the work is rooted in the notion that empty space contains all possibilities.

Under de Sí (2013)

“Installation theatre work in which the audience enters this ambiguous universe of performative tasks. Spins around the idea of self-image building and the theatricality of genetics. [What does] hyper reality looks [sic] like if today were a museum to be seen from years ahead?”

A collaboration with visual artist Diego Bianchi, this work presents a hyperbolic reimagining of our image obsessed society—in terms of self-image as well as society’s obsession with image collection and presentation via smartphones.

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Good Maneries: interview with choreographer Luis Garay

Posted April 8th, 2016

Maneries is also about imagination, and the bodily production of imagination, so the commitment of the performer must be very high.”


Colombian choreographer and director Luis Garay brings Maneries, performed by (and created for) the fiercely captivating dancer Florencia Vecino, to FringeArts April 14-16 (tickets/info). Garay (who is now based in Argentina) will also be leading a workshop for area dancers on April 13 (info/register). Maneries “explores a catalogue of gestures, pictures, poses, sculptures” and is a highly original evening of movement showing the incredible diversity of the human body. We caught up with Luis last fall to ask him about the dance.

How did you come up with the title Maneries?

Luis Garay: I don’t remember where I was or the exact moment. But I know we didn’t have many options for the title. It was pretty much the first and only option. Maneries is a concept from Giorgio Agamben’s book The Coming Community. He teaches us that maneries is not the plural of manare (ways of), on the contrary. Maneries is one place, like a fountain, from where all possible forms emanate. Maneries embraces both the universal and particular at the same time, like an example. In each example the “universal” is contained. So Maneries is collections of examples.

Maneries 3How do you create a solo work on another’s body?

Luis Garay: We developed a special relationship with Florencia [Vecino]. We created rules, collections of gestures, pictures, poses, sculptures—and she mixes them up, live, like a deejay. The structure of the piece is very rigid, but at the same time it allows [the performance] to be changed every time. Maneries is also about imagination, and the bodily production of imagination, so the commitment of the performer must be very high; Florencia commits 100% to what she does and that is why the piece is still alive.

What kind of conversations took place between the two of you?

Luis Garay: We talked about the state in which she needs to be, to start and to build the piece. We talked about it a lot, because this “state” is very complex, it requires that she is very attentive, at the same time inside the piece and observing herself from the outside—all the time, so it is very paranoiac. She has many rules to administrate at the same time. Many archives to execute. We talk about warriors all the time and what that could mean: she is a warrior of language. The piece is about what she does as much as it is about what she doesn’t do and we imagined out of her.

luis garay

Choreographer Luis Garay.

What did you work on most when fine-tuning Maneries?

Luis Garay: The energy. Because it is very fragile. We know the energy and the place the piece needs to grow. It is very thin. So we train that as much as possible. I know the ambient and the atmosphere in which I want the audience to be. It is very broad and at the same time very specific.

What experience do you get out of watching the performance now?

Luis Garay: I like watching it because I surrender to the performance every time. When the piece produces the kind of energy we want to create in the room, I am the first one to enjoy it and live it and experience it.

Thank you, looking forward to the show.

Luis Garay

April 14–16 TICKETS & INFO

140 North Columbus Boulevard (at Race)
Philadelphia, PA 19106

Maneries photos  by Dudu Quintanilha.

Homegrown Art Is in Bloom: Spring at FringeArts, Pt.1

Posted March 24th, 2016

Ah, spring has sprung once again! Or is about to. Or already did. Oh, you didn’t get the memo? It’s winter again! Wait, never mind, it is spring. But maybe don’t get too comfortable in those jorts. Even though we can’t seem to rely on nature to be on schedule these days, you can rest assured that FringeArts will be. We’ve got an incredible spring season packed with some of Philadelphia’s most lauded, boundary-pushing artists, as well as notable guests from out of town. Here’s what’s going down at our waterfront headquarters from April to June.

Coming April 9 is a show for all the talkers, drunk debaters, sidewalk weather reporters, water cooler pundits, backseat philosophers, pseudo intellectuals, haters, hype-men, chatter boxes, gossips, and even the silent types. The Society of Civil Discourse, a co-production between Team Sunshine Performance Corp and The Philly Pigeon/Jacob Winterstein, is looking for new members and thinks you’d be a perfect candidate, whoever you are (info/tickets).

SCD-183The evening plays out in three phases. During phase one the proceedings and rules of participation are laid out and all attendees are inducted into the Society. Phase two asks Society members to voice their opinions at three designated stations: a “hater” station, an “appreciation” station, and a “mini-debate” station. Once everyone’s oratorical muscles are warmed up we enter phase three. Participants become audience for The Great Debate, where two teams—made up of professionals and a few recruited audience members—debate on an audience-selected topic. If you’re someone who enjoys passionately debating pointless topics you don’t understand or care about, you’re going to want to grab a ticket quick for this “celebration of truth-stretchers, fabricators and pseudo-intellectuals in all their misinformed glory,” as a writer for City Paper so aptly summed it up.

luisgaray.hotglue.meNext up is Maneries, our first international offering of the season from Colombian-born Argentina-based choreographer Luis Garay. A solo created specifically for and in collaboration with dancer Florencia Vecino, the show positions the body as a cipher of linguistic material. Working with iconic symbols, Vecino takes on the difficult task of embodying a universal catalogue of gestures, pictures, poses, and sculptures, utilizing her body to represent all bodies, a vessel for all manner of possible meanings, perceptions, and experiences. Garay equates her performance, the manner in which she mixes these images live, to that of a DJ, asserting, “The structure of the piece is very rigid, but at the same time it allows [the performance] to be changed every time. Maneries is also about imagination and the bodily production of imagination.”

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