TODO LO QUE NO SOY
How far are we willing to go in a casting to get the part? This actress, singer, poet, dancer, pianist, and much more puts herself completely at the jury’s disposal in order to be chosen.
TODO LO QUE NO SOY exposes the obstacles posed by the job market and neoliberal systems to the personal fulfillment of young people, placing them under the imperative to sacrifice their artistic dignity to the demands of an impersonal market.
La Turba
TODO LO QUE NO SOY
About the Piece
This is a performative work where the text unfolds as living material, its structure shaped and altered by audience reception. The piece takes the form of a “casting,” in which a game is established between the audience, the lighting operator, and the performer. In this dynamic, audience and operator become a single “jury” that judges and evaluates the performer as she struggles to achieve an unreal objective—to reach the impossible—by attempting to become everything she is not, moving further away from herself. Biography appears as a pretext for “Carlota Berzal” to expose and constantly lie about her own life, fighting to win over a jury that always demands more.
Trayectory
Support Program by the Diputación de Sevilla 2021 Spain
ERASCIS Vulnerable Areas Program, Red Cross 2020 Spain
Cultura Mínima Festival 2020 Spain
DEL BORDE Festival Flores 2018 Argentina
Excéntrico Festival 2016 Argentina
LOFT Festival 2016 Chile
FAKI Festival 2015 Croatia
ARTISTIC AND TECHNICAL CREDITS
Creation and Performance: Carlota Berzal
Lighting and Sound Operator and Performer: María Viñuela
Production: La Turba Company
Despite her youth, Carlota Berzal has forged her path through hard work, becoming an all-terrain artist who masters multiple artistic fields with a distinct personal stamp. This mark is especially visible in the final moments of the piece, where the critique sharpens and the soloist strips herself of everything she is not, revealing her essence. Here, butoh dance appears, and with it the most intimate moment of the work, sweeping away any previous trace of humor and confronting us with the raw reality of remaining in one’s skin—without makeup or wrapping. Who are we, really? That is the question La Turba throws at the audience. We may not know the answer, but La Turba is personality, craft, and journey.
(Fran García- El Bombín de Lautrec)
Carlota Berzal (using her real name) exposes her shortcomings as a pianist, dancer, poet, and singer while sharing stories of her origins, childhood, supposed successes and recognitions, with admirable rhythm and histrionic skill. With just a few technical elements in an almost empty space, she constructs her narrative flawlessly, and the final scene—Carlota shedding everything she is not—is deeply moving.
(Nicolás Decia- Cultura del Ser)
Wearing a wig and hiding behind exaggerated makeup, the actress shares fragments of her life and career with the audience, who laugh at her antics—because indeed, Carlota Berzal knows how to express herself with charm.
(Francisco Javier Aguirre- Zaragoza Buenas Noticias)
We see the highly stylized protagonist fail because she cannot fit into the mold that the strange market of theatre (and of life) expects. Carlota is powerful and brave: she dives headfirst into the ridiculous and the grotesque without hesitation.
Merging action art with visual art from a more intimate and existential dimension, the project Todo lo que no soy by actress Carlota Berzal highlights the obstacles that the labor world and market systems impose on young people’s personal fulfillment, forcing them to sacrifice artistic dignity to the demands of an impersonal economy. Carlota’s scenic piece speaks of the prostitution of art, presented in a shabby aesthetic reflective of the consumption patterns of our post-industrial era.
(Jose Juan Martínez Bueso- Revista Madreselva)