in Performing the jumbled city
1 The audience is in the theatre hall of the Centro de Extensión Balmaceda Arte Joven, in the Quinta Normal Park. On display when Santiago Waria was staged, the audience was invited to visit the exhibition before the start of the performance. They were then given an MP3 player along with the headphones and the map to use during the tour. When the play begun, a video projected images of the city onto a screen in front of them, blending times and spaces: the periphery and the city centre; protests in the Alameda; everyday scenes. The original video (edited by Antil) and the performance audios are available on the project website at For this section, follow Track 1. While listening to this first audio track, the audience was not yet wearing headphones; the track was played through the theatre sound system. Only from the next track onwards was the audience asked to wear headphones and were the tracks played through the MP3 equipment throughout the entire tour.
2 Olivia was the director’s assistant during the construction and staging of the play. This choice, while not without frictions, was a way of experimenting with the possible inversion of the roles which Roberto and Olivia had assumed during the research prior to the creation and rehearsal of the performance. See ‘Nütxam’, this volume.
3 The realisation of the performance involved a great deal of logistics for the management of the audio-tour. Cynthia Niko Salgado Silva was in charge of the set design and of the backstage management. Running parallel to the live scenes in public spaces, the backstage involved setting up and dismantling each scene before and after the audience arrived. The performers themselves were involved in the process, shifting between on and off stage, either sharing part of the route with the audience or travelling alongside in a smaller van. This was one of the ways in which the boundaries between social actor and performer kept shifting, engaging with the ‘givenness of the scenario’ and its demand for embodiment. As highlighted in the Introduction, the social actors and their roles were somehow simultaneously in view (see Taylor 2003; Kondo 2018).
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Performing the jumbled city

Subversive aesthetics and anticolonial indigeneity in Santiago de Chile


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