When feathers revolve around a city, rivers of ink are looking for curves in the fullness of a highway. Woman city, woman origin; Perhaps urine transformed into warm River, broad hips with a Eurocentric vision perhaps, perhaps urbe mithos, sew hybrid of Museum with calzada porfiriana, monuments on roundabouts or forgotten squares. To know more about this subject visit Sela Ward. The left of the hand of the conscious, the navigators in the cerebral cortex, the inhabitants of the collectivity of consciousness or memory with all its evolution in the always commune named. Jalisco dramaturgy holds authors who have taken to femininity as metaphor back scalpel for the dissection of an idiosyncrasy. One reason.
A proof to give way to the review’s authors Diego Figueroa, Teresa Riggen, Hugo Salcedo and Jose Ruiz Mercado. Diego Figueroa starts its cultural aesthetic proposal on the basis of the need for a theater that reflects the realities of a village turned city by fact and Decree. His works are a worldview ultrasonographies. By the same author: The Author. Accurate criticism of a social system, but also proposals for the consolidation of a culture and therefore the deconstruction of an identity. From the inside of the characters the story is revised inch by inch, premise after premise. The Guadalajara with Minerva source. Hybrid city.
Objectified in every sense of the word. A place where justice and wisdom is exercised in warlike instruments. A conscience made, forced and tucked under pressure with the aid of a shoehorn. This is the meeting point of the authors. In Figueroa us look to those who are possessed and the characters hate each other in an outburst of life. In that struggle to stay afloat in a sea of impositions stamped by a contrahecha morality. However that is morbid? The curiosity is the lack of a revolution () I’m morbid, because my author is morbid. Characters hate for their disappointment and yet remain in a space.