{"id":79269,"date":"2026-09-29T07:46:42","date_gmt":"2026-09-29T05:46:42","guid":{"rendered":"https:\/\/a-desk.org\/?p=79269"},"modified":"2026-09-26T22:10:14","modified_gmt":"2026-09-26T20:10:14","slug":"poner-en-escena","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/poner-en-escena\/","title":{"rendered":"Staging"},"content":{"rendered":"<p style=\"font-weight: 400;\">As September\u2019s guest editor for A*DESK, I propose thinking of the stage as a space where something can be rehearsed and begin to exist. Scenography, performance, curating, dance, and ritual are all practices capable of producing relationships and forms of knowledge, but they are also tools for imagining other ways of inhabiting, building community, and remembering the past, present, and future. Staging is representing but it can also create the conditions for something to begin to be constructed and to happen.<\/p>\n<p style=\"font-weight: 400;\">The four texts gathered here come from very different places but share a single idea, namely, that the stage and its methodologies are spaces of possibility, existence and, above all, of resistance and memory. Scenography can thus be understood as rehearsal, as displacement, as fiction, or as an infrastructure of care.<\/p>\n<p style=\"font-weight: 400;\">We begin this issue with <a href=\"https:\/\/a-desk.org\/en\/magazine\/lempremta-abans-que-la-petjada\/\" target=\"_blank\" rel=\"noopener\">Roger Badia<\/a>, who discusses the relationship between architecture and scenography and the conditions of rehearsal. Through the architecture of Aldo Rossi, especially his San Cataldo Cemetery and the <em>Teatro del Mondo<\/em>, the text explores how a temporary or displaced construction, detached from its original function, can still open itself to other uses and other ways of inhabiting. Architecture thus appears as a stage capable of being activated by those who traverse it, while the performative dimension is presented as a tool for anticipating possibilities for the transformation of public space.<\/p>\n<p style=\"font-weight: 400;\"><a href=\"https:\/\/a-desk.org\/en\/magazine\/subir-escaleras-mecanicas-bajar-escaleras-de-caracol\/\" target=\"_blank\" rel=\"noopener\">J\u00falia Coelho<\/a> situates her own curatorial practice within in-between spaces. Drawing on Lygia Clark\u2019s <em>Linha Org\u00e2nica<\/em> and the practices of Susana Solano and \u00c1ngeles Marco, she conceives of curating as an interval where the boundaries between inside and outside, body and space, artist and public, past and present, are unstable. Curating thus appears as a performative practice, a way of moving between artworks, archives, places, and temporalities in order to produce knowledge through movement.<\/p>\n<p style=\"font-weight: 400;\">Next, <a href=\"https:\/\/a-desk.org\/en\/magazine\/ancestral-technologies-and-eternal-extractivism\/\" target=\"_blank\" rel=\"noopener\">Jordi Mani Huesca<\/a> traces a genealogy of interconnected memories across communities by means of the body, sound, ritual, and what is left behind. Through Bonk\u00f3 \u00f1\u00e1nkue and <a href=\"https:\/\/es.wikipedia.org\/wiki\/Abaku\u00e1\" target=\"_blank\" rel=\"noopener\">Abaku\u00e1<\/a>, and their connections to Detroit techno and Harlem ballroom, he proposes thinking of dance and music as technologies capable of preserving and updating memory. In contexts of displacement, precarity, violence, and extractivism, these practices allow for the generation of community, protection, belonging, and parallel economies of care.<\/p>\n<p style=\"font-weight: 400;\">We end this month with the film <a href=\"https:\/\/www.sixpackfilm.com\/en\/catalogue\/2160\/\" target=\"_blank\" rel=\"noopener\"><em>Flaming Ears<\/em><\/a>, in which <a href=\"https:\/\/a-desk.org\/en\/magazine\/flaming-ears\/\" target=\"_blank\" rel=\"noopener\">Tendai John Mutambu<\/a> akes us through the construction of a world via its set design. Faced with a city and a reality that could not contain ways of life imagined by its protagonists, Ursula P\u00fcrrer, A. Hans Scheirl, and Dietmar Schipek built the fictional city of Asche using models, sets, costumes, music, effects, and a profoundly collective and DIY production. The set design here ceases to be a mere backdrop and becomes a tool for self-construction. If the existing world doesn\u2019t offer the desired space, there\u2019s always the possibility of building another one, even if it\u2019s made with cardboard, scraps, costumes, with the help of a few accomplices.<\/p>\n<p style=\"font-weight: 400;\"><strong>From architecture to curatorial practice, from design models to dance floors, these four texts see the stage as a place of transformation. For them, staging is a way of creating and preserving space. It\u2019s also a way of rehearsing what we don\u2019t yet know how to inhabit. Perhaps the theatre, as well as its methodologies and disciplines, isn\u2019t so much about representing a world as it is about generating and imagining the conditions for others to emerge.<\/strong><\/p>\n<p>(Featured Image: Susana Solano, <em>La linterna I<\/em>, 2002-2003. Parque del Prado Collection. Vitoria-Gasteiz TownHall)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As September\u2019s guest editor for A*DESK, I propose thinking of the stage as a space where something can be rehearsed and begin to exist. Scenography, performance, curating, dance, and ritual&#8230;<\/p>\n","protected":false},"author":3002,"featured_media":78617,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[9370],"tags":[9460,9461,9047,9401,9400,5559,9372,9462,9373,5574,9463,9464,9465],"coauthors":[9428],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Staging by Margot Cuevas<\/title>\n<meta name=\"description\" content=\"Staging\/Rehearsing Other Ways of Inhabiting and Remembering by Margot Cuevas. Editorial Text September: Mouth-Scene\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/?p=79169\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staging by Margot Cuevas\" \/>\n<meta property=\"og:description\" content=\"Staging\/Rehearsing Other Ways of Inhabiting and Remembering by Margot Cuevas. Editorial Text September: Mouth-Scene\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/?p=79169\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-29T05:46:42+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-26T20:10:14+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/A-partir-de-Lygia-Clark-SusanaSolano_Linterna-e1790084270745.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"722\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Margot Cuevas\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Margot Cuevas\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/?p=79169\",\"url\":\"https:\/\/a-desk.org\/?p=79169\",\"name\":\"Staging by Margot Cuevas\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/?p=79169#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/?p=79169#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/A-partir-de-Lygia-Clark-SusanaSolano_Linterna-e1790084270745.jpg\",\"datePublished\":\"2026-09-29T05:46:42+00:00\",\"dateModified\":\"2026-09-26T20:10:14+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/117a94679b6e1312364201723b43151b\"},\"description\":\"Staging\/Rehearsing Other Ways of Inhabiting and Remembering by Margot Cuevas. Editorial Text September: Mouth-Scene\",\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/?p=79169#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/?p=79169\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/a-desk.org\/?p=79169#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/A-partir-de-Lygia-Clark-SusanaSolano_Linterna-e1790084270745.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/A-partir-de-Lygia-Clark-SusanaSolano_Linterna-e1790084270745.jpg\",\"width\":1000,\"height\":722,\"caption\":\"A partir de Lygia Clark-Susana Solano, Linterna\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/?p=79169#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Staging\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/117a94679b6e1312364201723b43151b\",\"name\":\"Margot Cuevas\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/7f77a7cd369bd07dbc5ee8d74d45c862\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/f7a2e0a01ed2fba3baef550a4b2d5f53?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/f7a2e0a01ed2fba3baef550a4b2d5f53?s=96&d=mm&r=g\",\"caption\":\"Margot Cuevas\"},\"url\":\"https:\/\/a-desk.org\/en\/autor\/margotcuevas\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Staging by Margot Cuevas","description":"Staging\/Rehearsing Other Ways of Inhabiting and Remembering by Margot Cuevas. Editorial Text September: Mouth-Scene","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/a-desk.org\/?p=79169","og_locale":"en_US","og_type":"article","og_title":"Staging by Margot Cuevas","og_description":"Staging\/Rehearsing Other Ways of Inhabiting and Remembering by Margot Cuevas. Editorial Text September: Mouth-Scene","og_url":"https:\/\/a-desk.org\/?p=79169","og_site_name":"A*Desk","article_published_time":"2026-09-29T05:46:42+00:00","article_modified_time":"2026-09-26T20:10:14+00:00","og_image":[{"width":1000,"height":722,"url":"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/A-partir-de-Lygia-Clark-SusanaSolano_Linterna-e1790084270745.jpg","type":"image\/jpeg"}],"author":"Margot Cuevas","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Margot Cuevas","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/?p=79169","url":"https:\/\/a-desk.org\/?p=79169","name":"Staging by Margot Cuevas","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/?p=79169#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/?p=79169#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/A-partir-de-Lygia-Clark-SusanaSolano_Linterna-e1790084270745.jpg","datePublished":"2026-09-29T05:46:42+00:00","dateModified":"2026-09-26T20:10:14+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/117a94679b6e1312364201723b43151b"},"description":"Staging\/Rehearsing Other Ways of Inhabiting and Remembering by Margot Cuevas. Editorial Text September: Mouth-Scene","breadcrumb":{"@id":"https:\/\/a-desk.org\/?p=79169#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/?p=79169"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/a-desk.org\/?p=79169#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/A-partir-de-Lygia-Clark-SusanaSolano_Linterna-e1790084270745.jpg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/A-partir-de-Lygia-Clark-SusanaSolano_Linterna-e1790084270745.jpg","width":1000,"height":722,"caption":"A partir de Lygia Clark-Susana Solano, Linterna"},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/?p=79169#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/en\/"},{"@type":"ListItem","position":2,"name":"Staging"}]},{"@type":"WebSite","@id":"https:\/\/a-desk.org\/#website","url":"https:\/\/a-desk.org\/","name":"A*Desk","description":"A*Desk Critical Thinking","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/a-desk.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/117a94679b6e1312364201723b43151b","name":"Margot Cuevas","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/7f77a7cd369bd07dbc5ee8d74d45c862","url":"https:\/\/secure.gravatar.com\/avatar\/f7a2e0a01ed2fba3baef550a4b2d5f53?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/f7a2e0a01ed2fba3baef550a4b2d5f53?s=96&d=mm&r=g","caption":"Margot Cuevas"},"url":"https:\/\/a-desk.org\/en\/autor\/margotcuevas\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/79269"}],"collection":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/users\/3002"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/comments?post=79269"}],"version-history":[{"count":2,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/79269\/revisions"}],"predecessor-version":[{"id":79270,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/79269\/revisions\/79270"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/media\/78617"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/media?parent=79269"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/categories?post=79269"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/tags?post=79269"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/coauthors?post=79269"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}