The Freak Onstage: Transformation of Life into Spectacle in Teatro de Ciertos Habitantes's <i>El Gallo</i>

Mexican theatre company Teatro de Ciertos Habitantes are world-renowned for their intensive laboratory processes leading up to unique, interdisciplinary performances that defy expected theatrical conventions. Their piece El Gallo (2009) is a poignant example of this company's capacity for innovation and social action. Here, actors are transformed into opera singers in a piece that is sung – in an entirely invented language – while inciting audiences to consider the anxieties that fuel the act of exposing one's body onstage, as fears over our own perceived differences prevent us from feeling ‘normal’ in a society that constantly judges us as we recognize the discriminatory power of social normativity.

Authors

Publication Details

Journal
Theatre Research International
Published
2024-10-01
DOI
https://doi.org/10.1017/s0307883324000233
Primary Topic
Historical and Modern Theater Studies
Type
article
Field-Weighted Citation Impact
0.00
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article

The Freak Onstage: Transformation of Life into Spectacle in Teatro de Ciertos Habitantes's El Gallo

Analola Santana
Theatre Research International
Historical and Modern Theater Studies
article

The Freak Onstage: Transformation of Life into Spectacle in Teatro de Ciertos Habitantes's El Gallo

Analola Santana
article en

Abstract

Mexican theatre company Teatro de Ciertos Habitantes are world-renowned for their intensive laboratory processes leading up to unique, interdisciplinary performances that defy expected theatrical conventions. Their piece El Gallo (2009) is a poignant example of this company's capacity for innovation and social action. Here, actors are transformed into opera singers in a piece that is sung – in an entirely invented language – while inciting audiences to consider the anxieties that fuel the act of exposing one's body onstage, as fears over our own perceived differences prevent us from feeling ‘normal’ in a society that constantly judges us as we recognize the discriminatory power of social normativity.

Theatre Research InternationalVol. 49(3)
Openalex Percentile: Top 63%
Historical and Modern Theater Studies
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