Catalina

Alone onstage, Gabino Rodríguez recounts in minute detail the end of a love affair. Souvenirs, music, photos, videos, text messages – he displays them one after the other, evidence of his private disaster. These fragments of a break-up are presented in an implacable list, and ultimately the absent woman dominates the story. An autobiography placed on display? Youthful excess? An exhibition of memory? Breaking with conventional theatre, Gabino Rodríguez eliminates the spectacular to get down to the bare bones. Constantly on the edge, he plays with time, identity, intimate distance and the notion of representation. Can memory be filed away like that, before an audience that is both judge and witness? There is an underlying shamelessness and malaise, and the more evidence he offers, the more he falls apart, as though it were essential to only think of things, without feeling them; as though it were important to remove oneself from the tyranny of love.