Edition 2018


The 7th edition of PRISMA has been-why not say-a challenge: cancellations of companies due to lack of mobility funds, difficulty in raising funds from private companies, extreme bureaucracy in some governmental instances, … However, here we are One more year, happy to be able to offer them first shows for a week, anxiously waiting for the arrival of 76 foreigners and the participation of 10 Panamanians, all of them with proposals that will make us dream.

But PRISMA is much more: apart from 8 hall events like this one, we will have 11 free functions (including 3 in public spaces and the rest of schools), 20 master dance classes (full capacity!), 2 creation workshops (1 of adults and 1 of young people), a writing workshop, talks, a blog, etc.

That is, PRISMA has already done its part. Now it’s up to you to prepare yourself to appreciate what we will offer you. Are you ready? If you are not sure, some of the concepts that we visited last year with the critic Bertha Díaz in the writing workshop on the performing arts could be useful.

Bertha told us that the spectator, whether or not he intends to write a text from a piece, can try to “look” at bodies in movement and go beyond the image. Look at what is and also what is not but could be; what the creator chose to highlight by means of light and what he decided not to bring to the stage. Call light, sound, bodies, movement, scenic elements, …

You can (because there are no duties when it comes to appreciate art) ask what effect those movements produce on him or her, observe their own body and become aware of what is their physical reaction to the work: their beats are accelerated? Does it cause drowsiness? Does it lead to a kind of trance? Does it smell like something? The sounds, noises, silences had an effect on your body?

Above all, it can be associated with the piece. Recognize (and re-know) in it. Feel: fear, anger, compassion, tenderness … And to the extent that it does, and to allow itself to react -even to enter into crisis because of experiencing it- to that extent art will have lived.

After the first sight, we almost can not avoid seeing technique, structure … and appealing to references (memories of dances we have seen, other forms of art, experiences) with which we managed to establish some kind of link. That is, we can not avoid thinking about the Form.

However, as Bertha urged us, let’s keep the Force better! Let’s find the character of each piece and let that be what we take home, and to life, at the end of the show.

 Analida y Ximena










Associated Media