TaTePo (2018)

Over the years and since 2018, we have given this workshop that we call TaTePo: Taller de Teatro Potencial, Posible, Portátil, in clear homage to OuLiPo. We have been adapting to the students (whether in Mexico, Bolivia, Peru, Colombia or Spain) and to the spaces so that the workshop was also, in a way, site & time specific, but we never stopped trusting in our little manifesto (with workshop participants from Santiago de Chile we wrote another manifesto with twenty or thirty hands, one we called "Antiteatro"):

1. Preludes: what do we believe in?
2. How to be shandy on stage: extreme sexuality, innovative spirit, absence of great purposes, insolence, tense coexistence with the double, sympathy for blackness and indefatigable nomadism.
3. Species of spaces: are there spaces more suitable than others for theater to happen? Disciplines without borders.
4. Manual of good manners: the spectator treated as an individual and not as an assembly.
5. Weather forecasting: thermometers to measure the creation of theatrical atmospheres. The potential and not always powerful use of technology.
6. What's wrong with them?The best dramaturgies of the 21st century are written with no notes, no characters, no fiction.
7. The Truman Show: no one acts better about oneself than oneself. Who am I when I am in front of an audience?
8. For whom the bell tolls: the sound never stops working, from the washing machine in your house, to the traffic in your city, to your own head.
9. Chronic rhinitis: the unfathomable mystery of pretending that nothing smells on stage.
10. Penalties are missed by those who take them: theater is something that happens and can fail. Perfection is the enemy of the possible.