Mal Pelo's offerings are a choreographic combination of gesture, movement, music, video and words.
After the celebration of their 20th anniversary last year with installations, talks, a retrospective show and a concert, the artistic directors of Mal Pelo, María Muñoz and Pep Ramis, with help from Leo Castro, have put together a new performance piece, ALL THE NAMES, in which María Muñoz continues her explorations as a solo performer.
ALL THE NAMES, a journey of discovery among the names that make up a particular body, that inhabit and project it.
A reflection on definition and confirmation of the self through names, this piece uses words and the body to investigate the meaning of naming.
The basic structure of each of our bodies has been built around names. To name, in this sense, is to carve out the desire to decipher what I am, what I belong to and therefore defines me.
The texts for the show, written during the process of creating it, have come from various improvisations and are inspired by Carlos Thiebaut's book, A History of Naming. María Muñoz and the Madrilenian philosopher established a relationship, by letter and over the phone, which fed into the work. John Berger, a regular collaborator with Mal Pelo, also made a very special contribution with an sms that became the backbone of All The Names:
"We all have many names and everyone has his or her adjective, they are like clothes, show them off then take them off one by one. When we do not have names we are naked. Being naked is a way of waiting, waiting to be given a name, the first".
The piece explores two paths, each through a character: one is called Present and resembles personal memory and the other is a rabbit called Carnaval, who philosophises and names things as he talks. Carnaval alternates moments of reflection on fundamental issues with moments of self-parody in which he ponders the idea of naming.
The music for ALL THE NAMES was written by the Portuguese composer and improviser Nuno Rebelo, the double bass player John Edwards and the English composer and improviser Steve Noble. Overall coherence is down to sound engineer Àlex Polls, who did the mixing, and Pep Ramis, who edited the music in real time. This involved making a selection in relation to each scene from a total of 60 sounds, various recorded texts and ambiences created by the musicians.
Magali Rousseau and Ben Heinzel-Lichtwark constructed props for the performance using fragile materials: paper, small ropes and pulleys, leaves and a couple of ingenious motorized devices. The resulting production is specific and austere.