Tríptico de la prosperidad

Scene III. La buena obra

Never talk about what you don’t care about, otherwise you will hear things you don’t like.
A thousand and one nights


It all began in 2015 in Malabo, capital of Equatorial Guinea, a former Spanish colony devastated by imperialism, where I went to develop a dance project. BEKRISTEN, which means ‘Christians’ in the Fang language, was born out of a strong spiritual, personal crisis, but also of our time. Human evolution, understood from the perspective of techno-economic prosperity, leaves us in the midst of a strange landscape, intoxicated by consumption and waste, tyrannised by the dictatorship of happiness and eternal youth, where the idea of neighbour fades into that of user. In this hyper-connected global world, how can we love today, what can we do in the face of the pain of others?


As in the triptychs of Bosch, Brueghel, Van der Wayden or Bacon, I try to paint stages, milestones or transits of the human soul: La domesticación, Somos la guerra, La buena obra or, as Bataille would say: eroticism, work and death.


La domesticación premiered in 2019, co-produced by Teatros del Canal in Madrid. Somos la guerra premiered in 2021, co-produced by the Centro de Cultura Contemporánea de Conde Duque. The complete triptych, with the first two chapters revisited and the third, La buena obra, premiered at the Autumn Festival in Madrid, at Teatros del Canal, and has the support of the Teatro Central in Seville and the Graner Centre de Creació in Barcelona.
The last time I visited my grandmother Luz, whose name my mother and I inherited, at the old people’s home, I thought: there is nothing more frightening than bodies that smell of death. I thought about the obsolescence of bodies. Of waste bodies. In the old people’s home as a clean point spot for technological objects, a dumping ground for what doesn’t fit in the world and that we patiently wait for time to make it disappear.


Luz Arcas


Jesús Bravo, Carmen Gil, Begoña Hernández, Isabel Lag, Luz López, Javier Páez, Ángeles de Paz y Lauracharlie 


Jorge Colomer


Victoria Aimé y Rafel SM Paniagua


Pablo Contreras


Virginia Rota


Alex Foulkes y Alberto Núñez


Fernando Jariego

“An absolutely overwhelming corporal and political discourse that Arcas has been working on for more than a decade and that shakes with the violence of the unabashed truth.”