The day after a meeting with the writer John Berger in Paris, María Muñoz received this message dated on the 23rd of January, 2006: “Somebody is remembering your body which (for them) is absent. Remembering your body with tenderness. Can you –I know it’s a far-out challenge- can you perform that memory according to which somebody is remembering you? And if you can, can who is now the remembering one, receive you as that memory? Love, John."
The response is a part of Testimoni de llops (Wolves testimony). The challenge raised by Berger is an invitation to update the memory of what happened: to dilute the time, though containing it, up to the limits that separate a body, with his memories, from another body.
The writer made other questions by means of other messages that stimulated the creative process of Testimoni de llops, a work that was born from the desire to work on the memory: "To investigate about what is it that makes something to become a testimony; to explore about words that might conjugate with the memory: father, territory, homeland, patrimony, animal, herd, death, body, limits.
From there, listening to each other, they worked on the memory of the body and on the uncertainty of its limits. On the memory of the father or, as it is obvious from the title of the piece, on the memory of that animal which we were and keep inside as a possibility we are afraid of and for which we long.
What we perform in Testimoni de llops is born from the correspondence between an absent person and a group of persons working around a table and answering him with their bodies. From the word to the body and over again. Until writing the pages of a book with the body. Pages that are synthesis and reflection of testimonies speaking about passion, intimacy, loneliness, displacement, love, death, about men, women and even angels.
They say that the wolves form herds of seven. The six dancers of Testimoni de llops counted during their rehearsals with an absent wolf that became present through his messages.
By means of Berger's word, the text becomes an element of thought in Mal Pelo's production: “Between the writing and the body an abyss is opened that can provoke the confusion in the spectator, but that also expands the doors of the imagination.
A talk between the journalist Imma Merino and Mal Pelo. NOV’06