Marta Pazos x papiroga

  • Year
    2025
There are stages where the lights don't go out when the curtain falls.

They linger in our minds, beating like a shared secret, stubbornly insistent on breaking through the theater doors. This is what happens with the universe of Marta Pazos, the director who paints the stage as if it were a canvas in flames: roses that set classical ruins alight, greens that mutate from baroque palaces to futuristic jungles, blues that conceal masks at every turn, oranges that bite at the edges of the set to invite us to cross to the other side. Always to the other side.

Today we open that chromatic chest and take it to our ears with four earrings, with four works of art converted into jewelry without losing their stage vocation.

Sappho offers us the peony with eternal lovers.

Orlando deploys a pen whose identity never ceases to transform.

The Audience erects a blue labyrinth of overlapping rectangles whose level guards a desire.

The Comedy exhorts us to demolish bourgeois conventions with its impetuous orange.

Each earring is prop and protagonist, verse and costume. A scenic artifact conceived to continue the performance beyond the stalls.

So put them on and let the spotlight invent new shadows on your skin. Let the word become matter, matter become voice, and voice once again summon the immortal ruins of Mérida, Woolf's changing garden, Lorca's impossible study, the fluorescent box where everything is yet to be written. Because Pazos' theater doesn't end with the applause. It spreads, it merges, it adheres to the rhythm of whoever inhabits it. These earrings are its bis repetita, a second call to the stage, intimate and portable, so that the ceremony of art continues to resonate with you.

Frame by frame. Step by step. Gesture by gesture.