Kammer 3




The performer and anthropologist Lukas Avendaño was born on the isthmus of Tehuantepec. There he grew up in a community of Zapotec, who go barefoot and exercise “sodomite” practices. They belong to the indigenous people of Mexico and inhabit the state of Oaxaca in the south. The proximity to this unique culture has influenced his aesthetic work. His body has absorbed some of its elements, giving them new meaning and offering a variety of translations. In this respect, his work can be understood as an exercise created under local conditions, which is interpreted by the performer in such a way that implications of global significance become evident.
In his performance of “No Soy Persona. Soy Mariposa”, the word “butterfly” (mariposa) is interpreted in the full richness of its meaning in Mexican Spanish. Here, the word has close connotations with homosexuality, queer lifestyles and the figure of the male prostitute. According to Lukas Avendaño on the one hand, the use of the term “mariposa” creates a barrier “between those of us who openly profess to be mariposa”, and those who do not. But it is also one of the characteristics of this creature, like a fugitive who grows wings, to be able to fly away above geographical and perhaps social and political borders too. As soon as the use of the word “mariposa” is reclaimed as a human right, along with its associated ways of life, its promise of mobility and transgression and the freedom to exercise one’s sexuality – the possibility also emerges that it will no longer be limited to homosexuals. “Straight people could say ‘I’m a butterfly’ too’”. And thereby turn their own sexuality into something playful and malleable.
In “No Soy Persona. Soy Mariposa” Lukas Avendaño seduces the audience. He becomes an exhibitionist, displays his body, the ciphers of desire, always driven by the wish to incorporate his audience and make them his accomplices, companions, friends, lovers or simply voyeurs of the show. For his performance, Lukas Avendaño adapted an original text by Felipe Osornio entitled “Leche de Virgen Trimegisto” to talk about the issues that concern him: freedom, democracy, sexuality, real migration, symbolism, morphology and gestures.
Lukas Avendaño sees himself as a mutating creature, as a migrant, an undefined and incomplete being, who escapes the binary classifications of man/woman. From this standpoint, he becomes a sniper, with hope for and belief in a world that will honour every bastard, sodomite, bardash, manitou, muxhe and homosexual.

Part of Endstation Sehnsucht – Theater in Mexico: A festival about flight, identity and the representability of violence

Curated by Christoph Gurk and Ilona Goyeneche.

In cooperation with Goethe-Institut Mexiko. Funded by Kulturstiftung des Bundes. Supported by Secretaría de Cultura de México, Goethe-Institut München and Instituto Cervantes.

Next to the individual ticket a FESTIVAL PASS is available at the box office.

FESTIVAL PASS (for 6 days): 60 Euro / discounted 40 Euro

In order to see the full program click here.