Marina Fueyo, The Weak Side

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The choreographer Marina Fueyo created Toys in the Attic (T.I.T.A.) in 2020, a piece that was her final degree project. It was to be the first part of a trilogy, Dear Cassandra, united by the same vision of life as a tight and agonizing space. In that first choreography, the author placed her protagonists in a space where she simulated life, simplified and schematized, and subjected them to the incomprehension, expectation and loneliness of which human beings are victims. In the piece with which she has won this year's prize, the second of the trilogy, the choreographer goes back to the moments before the creation of this simplified existence portrayed in Toys in the Attic and, in The Weak Side, she speaks to us about everything that precedes the acquisition of our consciousness: creation, uncertainty and separation from what is our own. Among the themes on which Marina Fueyo speaks to us with the language of dance, motherhood, understood as the relationship with a being to whom life has been given, a bond so strong that it is capable of transcending the agony of life, the end of this existence, the fragility of which gives the title to the show.

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