Foreword by JORGE DUBATTI (ARGENTINA) AND LUIS DE TAVIRA (MEXICO) . Editorial Servicop, 2023.

You can purchase it by writing to info@jazmingarciasathicq.com

Jorge Dubatti:
This new book of dramatic texts by Jazmín García Sathicq does not propose a unitary title, however it constitutes an authentic integrated collection, not miscellaneous, with a profound unity of meaning and procedures.

Although the three pieces gathered here respond to different occasions, images and contexts, they have common elements that unite them:

– In all three, the playwright uses theater as an intelligent poetic-symbolic device to think about society, a tool (of modern tradition) that enables understanding of the contemporary world, which calls for problematizing tensions and transformations and politicizing the future (undoubtedly threatening, unsettling), which calls to assume a critical perspective, neither apocalyptic nor conformist, to confront and rub against the theatrical worlds and the worlds in which we live and do something with it in our civic lives;

– In all three, at the same time, the playwright conceives theater as a poetic end in itself, which offers a specific sensitive, emotional, imaginary and symbolic experience, and therefore allows the production of forms of knowledge, knowledge, intuitions that only they are accessible from the theater art;

– in all three, the playwright empowers the viewers to build their own creative relationship with the texts, unfolds before their eyes three problem-plays, dilemmatic works with multiple points of view, without univocal readings but always linked to orbs hellish; the spectators-creators, spectators-artists, must develop their own vision in the face of the strangeness of the world, in the face of its destruction, or remain submerged in a disturbing indeterminacy, in a lucid suspension of conflict resolution, perplexity without active and mobilizing doubt.

Luis de Tavira:
In these three dramatic pieces, Jazmín García Sathicq plots the scenic device of a surprising metaphysical debate: reality is absent from a world submerged under a deluge of tears, it has returned to the cave to vanish among the deceptive shadows that are projected on the walls. from his confinement and has been shipwrecked off the coast of a rotten sea at the bottom of which an insurmountable shame is hidden.

In the unusual scenes of these works, one succumbs to the pained astonishment in which the actuality of the loss in the loss of actuality is experienced, just when the inescapable bursts in untimely. That which Freud expressed almost nothing more than a desire in the face of the catastrophe of culture: “…we can only hope that the other of the cosmic powers, the eternal eros, makes an effort to assert itself against its immortal enemy…”.

Around the middle of the 20th century, Elías Canetti had a nightmare that he recounted more or less like this: “I dreamed that all of humanity, holding hands, was jumping out of reality…” and added: “Woe to those who stay!”