Why is it that the weight lifter trains lifting tons for free, while the miner won’t drag one extra sack of coal? Why is loading a truck work and climbing the Montblanc sports? Why are millions of dollars invested in top technology to lower records in milliseconds? What is it about this useless combat called sport?
In sports men and women enact the fatal combat of life. However this combat is reduced to its forms, liberated from its effects, its dangers and its shames. The combat of sport is unhooked from regular life -just as theatrical representation is- and thus elevated to the category of pure sign.
The sports hero seems to celebrate the defeat of his rivals, but actually he has defeated something much bigger. He has defied gravity climbing the mountain, he has controlled the unpredictable movement of a ball, he has defied the capacities of the machine he considers his body to be, by jumping higher, throwing further, and running faster. What he really has defeated is the resistance of things. And so what actually holds the victory is a certain understanding of the world –and of mankind inhabiting the world. Sport is a spectacle of the body, and modern sport is the spectacle of a modern, Cartesian and industrialized idea of the body.
During the last months Teatro de Chile has been training and competing in a creative process where an actor is only a player, where action is just to play and where creativity is expected to be tactic and strategic. Players are attached to their objectives, and their body’s are formed, deformed and reformed pursuing such objectives. Sport reveals itself as an empty drama whose catharsis promotes efficiency, improvement and achievement, denying all that is considered useless, non-productive, inefficient and ambiguous.
One question arises from the mouth of the exhausted player: What if I give up? What would be of me and all this if I quit? What kind of profound rebellious act could be contained in such a resignation?