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Performance
Performance
Crab
2017
Choreography and performance by Diana De Fex
Original and live music by Marcelo Schmittner
They passed the crab from hand to hand, from hand to hand, from hand to hand, from hand to hand, from hand to hand, from hand to hand….
Am I she who recalls or is my recollection what becomes me?
An immemorial memory from childhood, one of those lost in time, when death didn’t exist yet. When I recall it I recreate it, desire awakens, I try to materialize it/myself.
Fieber Festival Berlin 2017
St. Petersburg Arts Space, Berlin
Crab
How to be a good feminist?
2014
Concept and performance by Diana De Fex
Anahi as a character is an actress, playwright and feminist, but in her search for a job, she is constantly pigeonholed into gender roles. She goes from virgin to whore without finding her place as she wonders if she has failed as a feminist or if feminism has failed her. She prays to “the Virgin of Condoms” for condoms not to break in a country where abortion is illegal. She wonders if the only thing left for women to do is to put a price on the oppressions we suffer every day, as if they were “services” we perform for men. We would succumb to patriarchy and the capitalist market, but at least (?) we would be sex workers instead of sex slaves? Anahí tries to answer through constant direct interpellation to the audience, asking them to put a price on women's oppressions by placing a price tag on her body. In the meantime, Anahí's story in art comes in proximity with the story of a Valerie Solanas with an Andy Warhol.
Cooperation with Teatro Diritambo, Bogotá.
feminist
reproductive
Reproductive Rights
2014 Medellín
Street performance/ urban intervention
Concept: Diana De Fex
Performance: Diana De Fex, Sandra De Fex and Fabián Franco
Two women, one of whom had access to a legal abortion (painted and dressed in pink), another who had a clandestine abortion and died from the consequences of the poor conditions in which it was realized (painted and dressed in black) walk through the streets of Medellín, while being chased by an executioner-patriarch, who whips them and shouts at them the arguments often heard from the so-called pro-life (people who are against the right to have an abortion). The women tell their stories to those they meet along the way and ask people if they support free access to abortion in Colombia. Those who support it are given a flower as a sign of gratefulness, and to those who do not, the executioner hands them his business card, sarcastically inviting them to create alliances.
psychogeography
Psychogeography: an exercise to remember my future
2013
a one-person autobiographical piece
Text and performance by: Diana De Fex
Dramaturgy: Marion Pierce
Original music: Mohammad “Chex” Ali
“Medellín, 1990: The most violent city in the world and the city of my childhood. The United States, immediately after 9/11: The country where my family emigrated and where I thought I could find a new home until the day I had to pack the 25-pound suitcase for my mom's deportation.” This play is a journey through the theaters of Diana's memory when, as a second time migrant, - this time in Europe, 'going back' has become an impossibility and yet her only continuous present.
Camden Fringe Festival, London 2013
The Dublin Exchange, Dublin 2013
A preliminary version of this play, with dramaturgy by Hanna Winter, was performed at the Hartenberg International Theatre Festival, Czech Republic (2012).
A theoretical reflection of this play presented as a performative lecture, entitled The Persistence of the Border: The Migrant Experience in the One-Woman Play, was written and presented by Diana De Fex at the V. International Colloquium of Latin American Studies (CIELO 5) at the University of Palacký, Olomouc, Czech Republic (2016).
france
Welcome to France
2010
One-woman autobiographical satire
Written and performed by: Diana De Fex
Dramaturgy: Flore Vialet
Diana, a Colombian who came to study in France, pleads her innocence before a jury that accuses her of clandestinity, attempted voluntary manslaughter and threat to national security. To convince the jury of her innocence, Diana recounts several moments of her life in France, recounting situations she had not imagined possible in her home country. Upon her arrival at the airport, French policemen search her luggage for drugs, and to prove that there are none, she is forced to eat every one of her desserts brought from Colombia, use up all her film rolls and ruin her CD player. Diana takes it with humor, saying that she has simply transformed her belongings into a work of contemporary art. She must then cleverly deal with the pitfalls of “ chosen” immigration laws and French bureaucracy. She becomes her landlord's dominatrix due to a misunderstanding in translation just before making a terrible discovery that would change the course of her life.
School Acting International, Paris
Foyer La Vigie, Paris
Collaborations
collaborations
Pedagogy
padagogy
I have facilitated community theater and dance processes in different contexts of formal and non-formal education. Some have been projects initiated by me, others have been commissioned by institutions. These are some of them:
Workshop Olomouc
“Intertextualities and Theater of the Absurd” workshop for Hispanic philology students at the University of Olomouc, Czech Republic (2017).
olomouc
Sena
As a theater instructor at the Center for Physical Activity and Culture (SENA) in Bogota (2014, 2015), I trained actors in the 1-year and 2-year post-secondary programs, designed curriculum and lead theater and dance workshops for an array of populations.
sena
zarpa
Theater in Zarpa
Theater of the Oppressed (forum-theater) workshops and collective creation based on the somatic and telepathic-imaginative aspects of Michael Chekhov's method with Palestinian refugee youth and women in Zarqa, Jordan.
With the support of the European Cultural Foundation, UNRWA and Dafa Puppet Theatre (2012).
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