Encounter
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From Madrid, where she is an expatriate, the Argentinian choreographer, dancer and performer, returns to her personal and psychological history, which she places at the center of an ardent creativity with punk insolence.
Spaced out over time, it was not a few sporadic dates, at the Théâtre des Abbesses (November 2022), at the Paris l’été festival (July 2023), or at the Printemps des comédiens de Montpellier, relocated for the occasion to Villeneuve-lès-Avignon (June 2024), that were enough to spread the flattering rumor. Also, it is an authentic discovery, at once brutal, vulnerable and frankly stimulating, that the Parisian public of the Théâtre du Rond-Point must expect, on the threshold of autumn, through the last three shows designed by the choreographer and dancer, Marina Otero: Fuck Me, Love Me et Kill Me. Or, at the crossroads of injunction and supplication, the shaking trio of punk insolence which would nevertheless take a malicious pleasure in twisting our skulls with the obsessive complaint («Because I love you») by Latin crooner Sandro, former star of sixties now gone. Sound translation, if you will, of a “part of contradiction”, where the fierce femininity of a succubus would also know, depending on the context, how to switch to an attitude of a submissive lover, the demiurge will concede off-stage, summoned to clarify her position.
This is how we will consider Marina Otero, cactus and blue flower, with whom the connection is established by video from Madrid, where she has taken up residence after having spent most of her life and polished her artistic gear in Argentina. Precisely in Buenos Aires where, born in 1984, she grew up in a “popular framework and m
