Born in Valladolid 1964.

Performer and choreographer. He studied ballet, contemporary dance and video in Spain and USA. He received several grants to study at Movement Research in New York, where he also studies different techniques.

Since 1987 he works as a performer with the companies: Bocanada Danza, Blanca Calvo CIA, Los Ballets de Madrid, Carmen Cortés and Olga Mesa CIA. And the choreographers: Iñaki Azpillaga, Cesc Gelabert, Ana Buitrago, La Ribot, Gilles Jobin, Cuqui Jerez, Jérôme Bel, Xavier Le Roy and Tino Shegal. He works as artistic assistant with: La Ribot, Gilles Jobin, Carmen Cortés, Olga Mesa and Cuqui Jerez. Since 1993 he teaches classes and workshops and since 1992 he develops his own work collaborating with: Blanca Calvo: Los Juan caballos1992, Iñaki Azpillaga: 7 montañas y 7 ríos video directed by Utray and Lamadrid 1993, Ana Buitrago: Retazos 1996, Susana Casenave: Peces 1996, and Carmen Cortés: Así que pasen 100 Años 1998. Individually he creates the videos: Un jarro de agua fría 1993, Bradou 1994, Jarabe Tapatio 1995. The pieces: Pollo directamente 1995, El Pelirrojo 1997. The taste is mine 2000 and All good spies are my age 2002.



Created and Performed by: Juan Dominguez

Artsitic Assistant: Cuqui Jerez

Make up and special effects: Pedro R. de Diego, Irene Puche

Co-produced by: Espacce Pier Paolo Passolini, Comunidad de Madrid and Cuqui Jerez, with the support of Xavier Le Roy, in situ productions

This piece was part of P5 Project which was supported by:
TanzWerkstatt Berlin, Podewil, Vooriut (Gand) and Stuk (Louvain)

All Good Spies Are My Age
Juan Domínguez

Text by J. Antonio Sánchez

On stage, a man dressed in a white suit, puts small cards one after the other in front of the lens of a video-camera which projects their image on a screen placed next to him, so that the audience can read them.

The audience is meant to be a reader. But the reading is controlled by a time and the presence of the man who handles the cards, just a body, though you can tell he is the author.

To make the audience read for an hour and fifteen minutes may be a dangerous task, almost cruel. However the result is brilliant.

The text on the cards tries to reproduce the creation process of the piece. This creation process becomes an object, which is the piece itself. In spite of our first impressions, the piece comes to a perfect end.

As every process, Juan Dominguez´s is full of interruptions, wanderings, hesitations, daily feelings, memories, emotional experiences, reality bites, and all of them subjected to the author’s own discipline regarding time, space, code... The display of the process, might have become an endless one, an amorphous show, expanded in time and space. Or rather a thick and over-elaborated show, something too complex for the audience to understand.

However Juan Dominguez finds words on image a good vehicle to make his discourse real: the adequacy between materials and format results perfect.

The author-handler makes the audience get easily and gradually into the story, into the swinging of the creation process, to really deep dimensions, where it feels comfortable and pleased.

However the first approach feels as uncomfortable as the codes game. The whole piece is just a codification of a choreographic process before it is carried out. And this provokes a constant moving from the code of literature, to video and dance(drama).

At the same time the audience is reading the cards it is making a double interpretation. On the one hand it is reading the work process. On the other it can make a reading of the code itself and build links to other codes: to the pictures of saints, Borges’ non-written novels, Sophie Calle’s projects of life...and many others. And softly, everything gets into the discourse, into an enriching mixture of personal experience and free widening.

The piece is complex, however well-guided, and that is why its display becomes simple and effective on stage. There are pieces of text of an irresistible strength, and moments when the skips from reality to dream and to meta-language become surprising . Everyday life becomes a sign. And the everyday experience achieves the rank of discourse. Equally well sorted out is the alternation of routine, biography, illusion, in constant intersection with the construction, which has its correlate in the transformation of the author-handler on stage. And this is the most interesting thing: that in spite of the conceptual level of the discourse, the presence of the author on stage is really determinant in how we take the piece.

The end, when the author, who was a mere handler for the audience, stands up and wears a mask of himself at the age of 70 (resembling the distorted image of his aged face previously projected as the end of his picture biography) is just superb.

J. Antonio Sánchez

Madrid-Junio 2003