“In the depths of every human soul there is a longing for Nirvana, a yearning for a state of perfect bliss and union with the divine. This longing is inevitably accompanied by a wound, a wound that we carry with us from the moment we fall from grace.” – Carl Jung

I see desire, orgasms, and creation (with all the secrecy of its own mystery) as the central spiritual aspects of the human experience. From a philosophical perspective, repetition and friction appear as two drumming dynamic forces driving the cycle of life and renewal. Stimulating excitement to manifest conception through a perfectly designed reproductive system for the preservation of the species, maneuvers embedded in our bodies through humidities and cellular memory. An infinite spiral of conception and birth, a stimulated orgasm from repetition and trance, as a key, an entry into the celestial experience. The cycles of existence flowing through births, deaths, and rebirths drawing inspiration from nature where everything is conceived, fertilized, nurtured, and multiplied incessantly. To be born is already a wound, a primal rupture from one state to another, from the comfort of the womb to the harshness of existence. That exquisite state, the notion of what is longed to conceive, the unexpected or achieved with desire. As beings, deep in our psyche we eagerly anticipate conception, thus we dance in that wound in constant prayer. This wound, this entry into life, shapes our journey and constant desires, pain and pleasure again intertwined, a never-ending wanting to go back to “Nirvana” as Jung said.

On June 21, during the summer solstice, these works were activated through an intimate performance in Antigua Guatemala, in front of 50 spectators. They came to life as living tableaux—vivid scenes rich in symbolism, narrating fascinations deeply rooted in childhood, science, and faith. The theatrical and sonic landscapes transformed into a poetic, intuitive, and free experience, creating a collective communion.

An amalgamation of empirical theories, intrinsic truths, fragile speculations, failed hypotheses, difficult conversations, theological questions, illogical censorships, crystalline arguments, suppositions, encyclopedic verifications, spiritual revelations, predictions, hypothetical ideas, abstract meanings, raw myths, imposed narratives, composite philosophies, hidden manuscripts, collapses!

Verifiable scientific proofs, severities, poetry written in Braille for the initiated, alchemical writings, superstitions to seduce the gullible, contradictions, clumsy verses, treaties, epistles, apocryphal texts, idle chatter, categorical narratives, labor, exhaustive confessions, laboratory notes, and ancient astronomical maps. This entire torrent, continuously simmering in a bain-marie over a constant (philosophical) flame, at the same temperature for a long period, with the impulse to transmute into an epistemology of truth = unity.

“Ora, labora e lege”

ACT I:
A déjà vu
Mystery-time

ACT II:
The Philosopher’s Stone
Left in awe

ACT III:
Rosary on the Tree Petite
mort

ACT IV:
The Rapid Fire Fertile
Interval

Direction: Clara de Tezanos
Dance: Lisa Jennings
Theatre: Jose Peñalonzo
Ensemble: Laura Spillari & Clara de Tezanos
Music: Deni Nasser & Aimin Etwal
Illumination: Colin Chauche
Register: Stefan Herbruger
Production: Arco de Fuego Studio
Costume: Mazumi Patzel
Details: Xibalba Studio, Barbie Castañeda & Cass Kuhn
Photography: Rita Flores