Spanish Federation of Dance Companies Network
Cómeme otra vez Mey-Ling Bisogno physical theater

There is a theory that claims that gluttony and lust have their roots in human biology, in the survival instinct itself. So how do you distinguish the border between need and excess? Who is capable of setting moral limits on pleasure when it appears as a collateral effect of a necessary activity? Since the creation of Cómeme (2010). The theme is still current. We continue to play with the same archetypes and the primary emotions of the individual are the same, but the context and our way of interacting has radically changed, has it been transformed, evolved? Today gluttony and lust is not only limited to the biological or relational sphere, but have expanded to the cyber and virtual world. People not only seek their personal satisfaction, but they want to project it, reproducing and multiplying their experiences through social networks for an audience that compulsively consumes the experience of the "other" from the comfort of their home. Faced with such an exposed society, where each subject is his own object of advertising and where everything is measured by its exposure value, we have turne in to merchandise ... Credits and datasheet
 Premiered: 28/10/2021 / Available

Dirección y Coreografía: Mey-Ling Bisogno
Asistencia coreográfica: Diana Bonilla
Intérpretes: Aiala Echegaray, Diana Bonilla, Cristina Pérez Sosa y
Edoardo Ramirez Ehlinger
Colaboración Artística: Tomás Pozzi
Música original: Martin Ghersa
Escenografía y atrezzo: Laura Ferron
Estilísta: Cristina Pérez Sosa
Iluminación: Pablo Seoane – Cía de la Luz Producción
Management: peso producciones
Fotografías: Juan Carlos Toledo / Danilo Moroni
Con la colaboración de:
INAEM, Centro Coreográfico Canal – Madrid, Centro coreográfico de La Gomera, Centro Coreográfico María Pagés – Fuenlabrada, Teatro Hespérides – Gran Canaria.
Mey-Ling Bisogno physical theater
There is a theory that claims that gluttony and lust have their roots in human biology, in the survival instinct itself. So how do you distinguish the border between need and excess? Who is capable of setting moral limits on pleasure when it appears as a collateral effect of a necessary activity? Since the creation of Cómeme (2010). The theme is still current. We continue to play with the same archetypes and the primary emotions of the individual are the same, but the context and our way of interacting has radically ...

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