Directress Paula Riquelme takes us on a trip into the world of Maraña: “I like that in the audience, each one has a different version of what they are seeing. Being so abstract, the spectators look for preconfigured images and somehow create their own story.”
Dancer Martha Kröger during a rehearsal, wearing one of the many wool wigs that directress Paula Riquelme knitted by hand.
Chilean visual artist Paula Riquelme had spent the last three years weaving and knitting. Paula had created a complete universe knitted from wool. A living world with its own inhabitants, full of colors, sensations and sounds. A place with no references, where the audience connects with the very basic shapes of human subconsciousness.
“The word Maraña means entanglement. I like it when things are confusing, and they are all mixed up. It is something marañoso.”
Paula arrived in Berlin in early 2016, tired of working based on what clients ask her to do. "Clients were always asking for things like Cirque du Soleil or cabaret performances, so it became quite boring. At one point I didn't know if I was able to create anything without a client asking me to do it. So, to get out of that creative stalemate, we decided, together with my family, to take all our savings and come to Berlin for a year and not think about money or work, but concentrate a whole year on creating, developing a project without having the pressure of looking for a job or making a living. So I wasn't thinking about selling a project and my mindset was what can I create without having the need to sell it?”
“Maraña was born because I didn't have to think about anything commercial.”
Directress Paula Riquelme and circus artist Sullyn Gonzalez at Maraña ́s rehearsal studio at Monopol / Berlin.
Although knitting with wool is a process that requires a lot of time and patience, Paula loves to create this universe of knitted wool with this soft, organic and cozy material. “It reminds us of the work that our grandmothers and our mothers did. Plus the wool connects perfectly with the kind of movements that the performers do: organic, sensual and loose movements”.
Directress Paula Riquelme knitting and working on a costume design in her rehearsal studio at Monopol / Berlin.
Paula has always had the idea of making a wall of wool, a colourful wall with holes for elements to emerge from. “I like the idea of a wall that produces this feeling of being in between 2 worlds. So I made a stage that looks super childish, that looks like a kindergarten plus the fact that there are holes with plenty of things that are emerging and reentering. When I came up with this mixture between the childish and the erotic, I made that link, ah! And I thought it was perfect”.
Short film of the Maraña-experience.
“Maraña has something sexual, but nobody says it, because the scenario is like a child related one and the characters are somehow nice monsters but at the same time they have this erotic touch.”
Dancer Martha Kröger hanging on the wall during rehearsals at the Maraña studio in Berlin.
Extracts of the new piece “Unfall”.
Maraña's performing-team consists of dancers and acrobats with different backgrounds and from different disciplines: From classical ballet to circus and from martial arts to puppet theatre. "What I love about working with the performers is that everyone does completely different things, especially when improvising. The ideas that they propose when we are improvising are sometimes better than the original idea I had, so I follow those ideas and work on them and that is one of the most beautiful part of working together.”
Sullyn Gonzalez is trying on a wig during the rehearsal at the Maraña studio.
Maraña performers during rehearsals at Maraña Studio in Berlin.
“Maraña is not concrete, it does not tell you a linear story. My idea is to take the audience from what they are used to seeing. And there may be shapes that appear to you like an ice cream cone, while another person can see a penis. Everyone sees what they want to see.”