On the opening night of her 11 night run at the Latino Theatre Company, acclaimed Catalan performance artist Marta Carrasco commanded the entire theater from the instant she set foot onstage. It was not her disheveled costume, as that took a few minutes to see details, but what captured the space were Carrasco’s eyes which appeared to look at, see and acknowledge every single audience member. She commanded one’s attention and never relinquished her control. The character who first entered the stage was one of seven personae that Carrasco inhabited during her 60 minute, almost totally dialogue-less show titled “Perra de Nadie” (Nobody’s Bitch).
The woman persona first introduced, Lili, wore an all-white dress that could have been an old wedding dress she had worn when stood up at the altar by her fiancé. She donned a large, bright red flower in her short, cropped black hair and 3 Band-Aids on her face. On the outside of her dress, this delightful woman wore a back brace and a black 18th century hoop undergarment that was designed to enhance a woman’s hips on the outside of her gown. On one arm was a wrist brace and a forearm brace on the other. It was clear that this person was not in touch with reality and her body was occasionally jerked into positions not within her control. This displaced person was, on the other hand, cheerful, harmless, hopeful and friendly. While looking at someone, real or imaginary, and with a smile that broke one’s heart, this lost but lovable woman would gleefully utter “Hola! Cómo estás?” before retreating into her private existence.
Marta Carrasco in “Perra de Nadie” – Photo courtesy of the artist.
While not directly political, “Perra de Nadie” was clearly a performance specifically about and for women. It was also an opportunity for men to question how exactly they see and/or treat women. As fascinating as each character was, observing Carrasco morph from one into the next onstage before our eyes expressed Carrasco’s true genius. Each of Carrasco’s characters were troubled, damaged in some way or out of touch with their current status in the world. But each processed a strength and power that refused to be denied and each was a survivor. Carrasco’s physical posture shifted with each persona, and she skillfully altered the structure of her face as if the spirit of that new person had eerily crawled beneath her skin.
Carrasco’s second woman performed wearing only a shiny silver slip. Sitting at a small wooden table stage left, she danced to Georges Bizet’s opera “Carmen” without leaving her chair. There were moments of frantic anger woven in-between seductive posturing and glances. Any sense of peace vanished, however, as the woman grabbed her own hair and pulled upward to expose her neck and throat. Taking out a large machete-sized knife another side of her personality slowly mimed the slitting of her throat. Later, this troubled soul offered the knife to others to complete the deed that she could not.
All seven women appeared to be struggling with inner conflicts and emotions – personal demons, if you will. One struggled with her God, prostrating herself on the floor in submission. Donning a shiny, patterned green dress, Carrasco meticulously wrapped her entire head and neck with gauze, only occasionally uttering a whimpering sound of despair. Was she telling us how women are often seen and treated as objects or that this person felt or desired to be invisible within a male-dominated society? Two of the characters encased themselves in a dress or material what resembled burkas worn by some women of Muslim faith. Twice Carassco’s character shift was instant while others occurred as she slowly sauntered between the five coat trees that held several of her costumes, awaiting or inviting in a new persona. Carassco ends her performance covering herself in a white, chalky-like liquid and poses as if a statue or goddess.
Marta Carrasco in “Perra de Nadie (Nobody’s Bitch)” – Photo by David Ruano
Carrasco utilized stillness, a couple of long pauses and a ceaselessly mobile face to portray her women, which during an interview she told me that all came from inside herself. Yes there were costumes. Yes there was music and the recurring sound of a dog barking. But what held my, and others,’ attention throughout was Marta Carrasco the actress, dancer, choreographer, and performance artist extraordinaire.
Set for Marta Carrasco’s “Perra de Nadie” – Photo by LADC
I highly recommend that you not miss this opportunity to see “Perra de Nadie” as Carrasco has announced that this will be her last time performing live on stage. Fortunately, she will continue to choreograph and direct.
“Perra de Nadie”, created, performed and directed by Marta Carrasco, continues through June 26, 2022 at the Latino Theatre Company, 514 S. Spring Street in downtown Los Angeles. For more specific information and to purchase tickets, please visit the Latino Theatre Company’s WEBSITE or call the box office at (213) 489-0994.
PARKING:
- $5 with box office validation, Joe’s Parking structure, 530 S. Spring Street, immediately south of the theater. An additional parking structure is also next door to the Los Angeles Theatre Center.
- Metered parking is available on streets surrounding the theater.
- Take the Metro: nearest stop is Pershing Square (two blocks west of The LATC).
- Check the website on the day of each performance for up-to-date Covid-19 protocols.
Written by Jeff Slayton for LA Dance Chronicle.
Featured image: Marta Carrasco as Lili in “Perra de Nadie” – Photo by Alba Morera
