I see my own creative work as a path that keeps building up, until the day when I may be able to conceive the piece — that after which there won’t be any sense in creating a next one. For this purpose I establish relationships and upgrades between my different works, as if in each one I found something more to add to a sort of operatic instruction manual. Almost like a method. A Willingness to will complies with this trail of though. It is a continuity piece, part of a path I started in the solo One Woman Show and its’ follow-ups Guided Tour and Out of Things Things Are Born. But if at the end of each work I gather I have addressed specific questions regarding the artistic labor, in each work the beginning is always quite the same — to not know anything but a detonating image.
This piece was born out of a feeling of generational confrontation, which I get from many of my students. This confrontation made me think on my own generation and the way I relate with the previous and precedent generations. Such movement of heading supposedly towards for the future and backwards into the past ended up placing me in a kind of present. A here‐and‐now. Thus was born the galvanizing image of this new work: the transformation of a stage into a territory — Portugal. Willingness to will becomes a path where individual, collective, personal and historic dimensions cohabit in the same space. I might add that this path draws a glance over the momentum we are currently living in Europe (and throughout the world), striking out the relationships between North and South, between colonizer and colonized, between what is central and what is peripheral. It is also a manifesto against the unavoidable.