Bio

Meridiano 70ymedio Teatro, of which she is artistic director. As an author she has signed and directed the plays: Páramo de la Memoria, Noción de Vacío, Estación terminal, Regreso al Camí de la Retirada, Chejovianas, 1973, Los Girasoles de Van Gogh, El Frío, Bruto, el poder o la virtud, La Espera, Siempre Olvido el paraguas cuando tengo sed, Simone, La Carne, Entre las Olas. Virginia Woolf, Palabra y Vida, El Puente, Desterradas and Ofelia, as well as the adaptation and direction of numerous plays by other authors, including Mishima, Sartre, García Márquez, Ibsen, Shakespeare, among others. He has received the Eugenio Guzmán Award for Best Director. The play Terminal Station has been selected for the III Women's Playwriting Festival of Athens and Notion of Emptiness was a finalist in the I Creative Art Platform, to be presented in Makaronka, Russia.
She has published four of her plays in Arola Editors: La Espera, Simone, Entre las Olas and Desterradas, in Editorial Edual Los Girasoles de Van Gogh, in the magazine Raudem Siempre Olvido el paraguas cuando tengo sed and in the magazine Creative Art Platform, Notion of emptiness.

Project

When I decided to leave Chile for Barcelona, twenty years ago, I was looking to go beyond what I had learned, I was looking for other forms, other languages, other references that would open new doors to my writing and my work as a director. Many works have passed since then. But these last few years have been a time of silence, on the one hand, the one we have all lived through with the pandemic, but on the other, a more intimate and fragile one, that of writing. What sea did we dive into, why did we dive, to what shores, with what risks? I believe that the meaning, although imperceptibly, has changed after the confinement: what do we want to say, what do we talk about when we speak, and above all, what do we keep silent when we speak? As playwrights we live the silence of writing, the solitude of the word, a solitude necessary for the text to speak, but sometimes this solitude paralyzes and the emptiness becomes an emptiness impossible to fill. Then the need to meet arises. When I received the invitation to participate in this Contaminating Writing workshop, I did not hesitate to accept the challenge. The possibility of working on a joint project that allows us to permeabilize voices, ideas, in a playful and profound way, to face the challenge of a transcultural writing, with external and internal challenges and to open ourselves to cooperate, support, coexist in the word and with the word, seems to me a beautiful way to re-enchant ourselves with writing and with theater. To live the beautiful possibility of a shared writing.