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Festival TransAmériques
May 21 to June 5, 2025
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Asalto al agua transparente

LUISA PARDO + GABINO RODRIGUEZ

The capital of the Aztec empire, Tenochtitlàn, was established in 1325 on an island in the middle of Lake Texcoco, long before becoming Mexico, the city in the middle of moon lake. Long before indeed, for of the 2000 km2 of lakes sparkling in the Mexico City area, now only 10 km2 remain. After three centuries of irrigation to eliminate the risk of floods, the city is now thirsty. Asalto al agua transparente is the story of this ecological disaster.

Details

Luisa Pardo and Gabino Rodríguez, 27 years old, incarnate the new dynamics of contemporary culture in Mexico, creating theatre for their generation, theatre that reflects their reality. In an accumulation of facts they interweave three threads – the tale of the founding of the city, a chronicle of water and the story of Janet Meléndez, who has just arrived in Mexico City along with Ixca Cienfuegos in search of the lost lakes. Much of the script consists of statistics from the Instituto Nacional de Estadística y Geografía and information about historical turning points. Facts and more facts are employed in theatre that aims for a formal neutrality, giving rise to the cold poetry of disillusioned youth in a piece devoid of bluff or ostentation.

Credits

PRODUCED BY LAGARTIJAS TIRADAS AL SOL

WRITTEN, DIRECTED AND PERFORMED BY LUISA PARDO + GABINO RODRÍGUEZ
LIGHTING DESIGN: JULIANA FAESLER
IMAGES: JUAN LEDUC

COPRODUCTION LA MÁQUINA DE TEATRO

 

LUISA PARDO + GABINO RODRIGUEZ (MEXICO)
LAGARTIJAS TIRADAS AL SOL

Both 27 years old, Luisa Pardo and Gabino Rodríguez act extensively onstage and on screen. After studying at the Centro universitario de teatro de Mexico, in 2003 they founded the collective Lagartidas Tiradas al Sol (Lizards Lounging in the Sun). They dissect established practice in their search for theatre that reflects their generation, where the stage and fiction become new tools for understanding, for questioning and for intervening in reality, where theatre is an element of documentation and knowledge. Pardo and Rodríguez curtail the superfluous, lancing swollen emotion and eliminating the spectacular to construct a well-grounded theatrical phenomenology.