Vicente Lenero

The passenger forgot something. In female tessitura Teresa Riggen questioned double morality tapatia, transgresses the established in a spider web, sees the risks of the objectification, shows the machinery of a society’s status quo. Love as a strut of a system, devoid of all humanity love the pretext of the exercise of power, love of Mexican mother castrating and incestuous, symbolic figure flavored with eros and Thanatos in indissoluble union. Family inbred that persists in the collective memory under the guise of a camaraderie. Family ties, its always dependency, the latent desire that you just do not sprout in freedom; Hence, in this trance builds conflict. Spider uses the philosophy of the toilet to show the small universe and Grand bourgeois.

Aristocrat vision of feeling put on the balance of interests, love as a form of domination, never of pure delivery, although covered with savanna of a moral, whiteness of hospital, formaldehyde and chlorine. What is love? Sade questioned and answered: I think that only you can considered him as the effects that produce in us the qualities of a beautiful object; These effects produce us a State of bliss, we are excited. If we have that object, we feel happy; If it is impossible to possess it, despair but what is the basis of that feeling? desire. What are the consequences of that feeling? madness. Then we take into account the reason and protect ourselves from their effects. The reason is to possess the object. The objectualization of the human being is reviewed by Teresa Riggen in a work doubly antologada. In lyrics on stage, compiled by Vicente Lenero and edited by the Ministry of culture of the State of Jalisco, and in cursed, compiled by Jose Ruiz Mercado and published by Plaza editors, coinciding in the latter with the other, Hugo Salcedo, Artaud, or the sacred duty of sacrilege, of Teofilo Guerrero.



April 27th