Hola amigxs,
I’ve been a bit quiet on here, but definitely not quiet in real life. The last few years have been full of projects, collaborations, rehearsals, translations, workshops, applications, rejections, small wins, big questions, and lots of learning.
A few things have happened since I last properly updated this space.
I directed The Dream with SPID Theatre, a community-rooted adaptation inspired by the Mangrove Nine, the Windrush generation and histories of Black British resistance. It was a project that asked important questions about memory, activism, community and who gets to tell certain stories. As a Chilean director working in the UK, it also made me think deeply about responsibility, listening, solidarity and how to enter a story with care when it does not come directly from your own history.
I also directed the Latinx Showcase 2024 at Soho Theatre, working with 24 performers across 12 scenes. It was joyful, intense and very special to be in a room full of Latinx actors, stories, accents, humour, chaos, tenderness and talent. It reminded me how necessary these spaces are, and how much work there still is to do for Latin American artists to be properly seen within the UK theatre landscape.
Translation has continued to sit at the centre of my practice. I’ve kept working with the Out of the Wings collective and CLACS, and I’ve been developing an ongoing collaboration with Sophie Stevens around feminist theatre and translation practice. Sophie has been a generous colleague, collaborator and mentor over the years, and our work together has opened up many questions that feel very alive in my practice: how theatre travels, how translation sits in the body, how feminist practice can shape a room, and how our different backgrounds can meet through the work. Sophie comes to this from her experience as an academic and translator, and I come to it as a theatre maker, director and translator. That exchange has become a very important part of my artistic life, and there are exciting things growing from it.
Alongside this, I’ve continued facilitating workshops with children, young people, families and community groups. I’ve kept working with Brixton House, developing playful and bilingual family sessions, and I’ve also been leading work with SPID Theatre, including the Far Far Away programme for children. Last year, I also joined Freshwater Theatre as a facilitator and resource maker, which has been a lovely new chapter in my work with young people, imagination and learning.
I’ve also continued performing and devising. I’ve been working with Daedalus Theatre Company on Dysbiosis, a project that has kept growing through different stages of development, most recently with a sharing at Queen’s Theatre Hornchurch. It has been a rich and strange process, full of questions around ecology, identity, memory, land and the more-than-human world. I’ve also been working with Southbank Centre as a performance artist in different exhibitions, which has allowed me to keep exploring performance in public, visual and gallery-like spaces.
So yes, it has been a very varied few years. Directing, translating, facilitating, performing, making resources, holding rooms, learning, failing, trying again, mothering, surviving, and slowly understanding more clearly what kind of work I want to keep making.
Looking back, I can see that my practice has become more focused, even through all the different forms it has taken. I keep coming back to theatre that takes you somewhere new, sometimes somewhere uncomfortable. Theatre that is sharp, over the top, ridiculous, funny, political, visually bold and emotionally alive.
So this is me slowly updating the house, opening the windows, and bringing this website closer to where my practice is now.