Dramawalker Sevilla:
The spaces of the public in transit
Dramawalker is a project of audio fictions that turns Sevilla and its inhabitants into protagonists; beyond the official narrative, Dramawalker constructs intra-stories created by the citizens, enhancing their emotional and identity bond and bringing a new map of experiences to discover. Five representative names from the contemporary dramaturgy scene in the city, with diverse personalities, share a commitment: to let reality take over the stage.
Asserting the relevance of figures as Henri Lefebvre, Erving Goffman, Jane Jacobs, or Gabriel Tarde, who have been, in some cases, marginalized from current debates, we propose collectively constructing, around Dramawalker, a concept of “the urban” as an act of collective production, in terms of narrative, immersion, and action, that gives rise to a complex and multiple reality that is made visible and heard in the spaces of the public realm. Anthropologist Manuel Delgado affirms that the public space is, above all, a place of conflict, nourishing itself from it, from the encounters and relationships that its occupants engage in at a given time. Its conception, as a term, is relatively recent, and its caricature responds to a modern idea of a stratified city where each has its space, hierarchy, use, and predetermined meaning.
In this case, Sevilla, as a place for conflict, and its public transportation system, as a generator of spaces for social vitality and diversity, host a cluster of four “urban illusions,” as Lefebvre himself might define them, which are called upon to generate disorder, inconsistencies, and instabilities, more closely linked to the postulates of Richard Sennett and Pablo Sendra than to the regulatory zeal of the city’s municipal ordinances.
Thus, each bus, as a moving public space and meeting place between individuals and collectives, has been meticulously designed to avoid conflicts. Dramawalker, through its capacity for action, can activate reflection on a tacit theme and question why avoiding conflicts is considered a value. Wouldn’t it be better to accept or provoke them so they can be resolved? Isn’t “the urban” a continuous negotiation among strangers in a common space?
We could then say that the urbanisms resulting from constant movement and the occupation of the city by the bus fleet give rise to the TUSSAM Urbanisms; transit situations imbued with politics, not in classical terms, but in interpretations like that of Bruno Latour, whereby we understand that politics is integrated into all our actions and that it is in the constant management of conflict where exclusion and violence will be avoided; undoubtedly, there is more politics on a Tussam bus than in the Plenary Hall. As a space of conflict, a bus can achieve negotiations, agreements, and associations that are unimaginable in official spaces. This shows that successful policies do not occur in these places, but in the back seats, at the shared bar, at the requested stop, or in the waiting line, places that we often tend to consider irrelevant to politics.
LUGADERO TEAM
JAVIER MARTÍNEZ
MARTA MORERA
Curator
David Montero
Dramaturgy
Alberto Cortés, David Montero, Alex Peña, Rosa Romero, and Ana Sánchez Acevedo
Cast
Alicia Acuña, Vanessa Aibar, Ken Appledorn, David Arnaiz, Javier Berger, Raimundo Castellano, Alberto Cortés, Julia Cortés, María Castañeda, Pastora Filigrana, Pilar Galindo, Anabela Hernández, Amparo Marín, David Montero, Ángela Olivencia, Lola Pérez, Rosa Romero, Celia Vioque
Sound design and original music
José Torres Vicente
(except in “Sevilla no se vende sola”).
Graphic design and urban consulting
Lugadero
Videos
Carolina Cebrino
Photos
Carolina Cebrino, Marta Morera
Editing and mixing
Karo Sampela
Illustration
Ana Bustelo
Production
Teatro Lope de Vega
Centro Dramático Nacional
With the collaboration of Transportes Urbanos de Sevilla (TUSSAM)
Listen to all the audio fictions here: https://dramatico.mcu.es/evento/dramawalker-sevilla
