{"id":643,"date":"2026-04-20T23:01:32","date_gmt":"2026-04-20T21:01:32","guid":{"rendered":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/?p=643"},"modified":"2026-04-21T04:33:07","modified_gmt":"2026-04-21T02:33:07","slug":"anatomia-de-un-sinfin-por-roberto-fratini","status":"publish","type":"post","link":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/2026\/04\/20\/anatomia-de-un-sinfin-por-roberto-fratini\/","title":{"rendered":"Anatom\u00eda de un sinf\u00edn. Por Roberto Fratini."},"content":{"rendered":"

Anato<\/span><\/span>m\u00eda de un sinf\u00edn.<\/span><\/span><\/strong><\/h1>\n

Por Roberto Fratini,<\/strong><\/p>\n


\nEntre el s\u00ed<\/span><\/span> y el no, entre el pro y el contra,<\/span><\/span><\/h6>\n
E<\/span><\/span>xisten <\/span><\/span>as\u00ed inmensos espacios subterr\u00e1neos,<\/span><\/span><\/h6>\n
donde el m\u00e1s amenazado de los hombres<\/span><\/span><\/h6>\n
podr\u00eda vivir en paz.<\/span><\/span><\/h6>\n
(Marguerite Yourcenar, <\/span><\/span>L<\/span><\/span>\u2019<\/span><\/span>oeuvre au noir<\/span><\/span>)<\/span><\/span><\/h6>\n


\n\"\"
\n<\/a><\/span><\/span><\/p>\n

La <\/span><\/span>f\u00f3<\/span><\/span>r<\/span><\/span>mula<\/span><\/span> \u201c<\/span><\/span>punto impropio<\/span><\/span>\u201d<\/span><\/span> expr<\/span><\/span>esa, antes que nada,<\/span><\/span> una<\/span><\/span>perplejidad topogr\u00e1fica: <\/span><\/span>impropio <\/span><\/span>\u2013<\/span><\/span> o <\/span><\/span>propiamente ajeno<\/span><\/span> – es<\/span><\/span> el punto<\/span><\/span> al que<\/span><\/span>, sin<\/span><\/span> reconocer<\/span><\/span>lo<\/span><\/span> como n<\/span><\/span>uestro,<\/span><\/span> y sin haberlo<\/span><\/span>siquiera<\/span><\/span> elegido,<\/span><\/span> hemos sido asignados. <\/span><\/span>Un<\/span><\/span> punto<\/span><\/span> impropio en el tiempo<\/span><\/span>,<\/span><\/span> al<\/span><\/span> que sol\u00edamos llamar destino.<\/span><\/span> Y e<\/span><\/span>ste<\/span><\/span> punto impropio en el espacio<\/span><\/span> que<\/span><\/span>,<\/span><\/span> a falta de <\/span><\/span>lemas<\/span><\/span> m\u00e1s afortunad<\/span><\/span>o<\/span><\/span>s, <\/span><\/span>la<\/span><\/span>ciencia<\/span><\/span>, la danza y las ciencias de la danza <\/span><\/span>siguen l<\/span><\/span>lamando<\/span><\/span>cuerpo<\/span><\/span>. <\/span><\/span>Porque como no nos pertenece nuestro destino (si acaso le pertenecemos), <\/span><\/span>el cuerpo al que pertenecemos <\/span><\/span>es un pliegue de mundo<\/span><\/span> cuyos sinos, cuyas cavernas<\/span><\/span> se ocultan en <\/span><\/span>el anverso de la carne que l<\/span><\/span>os envuelve<\/span><\/span>, envuelta a su vez en capa<\/span><\/span>s<\/span><\/span> de deseo, discurso, fantasma.<\/span><\/span> E<\/span><\/span>n el n\u00facl<\/span><\/span>eo de la danza el cuerpo podr\u00e1 s<\/span><\/span>er <\/span><\/span>pos<\/span><\/span>e\u00ed<\/span><\/span>do<\/span><\/span> por mil e<\/span><\/span>nerg\u00edas, entidades, discursos, pero nunca ser\u00e1 <\/span><\/span>propiedad<\/span><\/span> de quien lo declara suyo.<\/span><\/span><\/p>\n

Javier Mart\u00edn piensa la danza como <\/span><\/span>el s\u00edntoma m\u00e1s general<\/span><\/span> de <\/span><\/span>una desorientaci\u00f3n, de un<\/span><\/span> \u201c<\/span><\/span>no haber lugar<\/span><\/span> al<\/span><\/span> sujeto<\/span><\/span>\u201d<\/span><\/span> en <\/span><\/span>la<\/span><\/span>inasible carne del cuerpo, y en <\/span><\/span>la carne inefa<\/span><\/span>ble del pensamiento. <\/span><\/span>Contra una larga<\/span><\/span> mitolog\u00eda hol\u00edstica que, sobre todo en danza moderna, trataba la danza como un<\/span><\/span>a <\/span><\/span>rotunda <\/span><\/span>conflaci\u00f3n de cuerpo, esp\u00edritu y sujeto, Javier <\/span><\/span>Mart\u00edn ha intuido quela danza es m\u00e1s bien la<\/span><\/span> expresi\u00f3n de una <\/span><\/span>\u201c<\/span><\/span>co<\/span><\/span>lateralidad<\/span><\/span>\u201d<\/span><\/span>insuperable, de un<\/span><\/span> des<\/span><\/span>fase que no sabr\u00edamos <\/span><\/span>\u2013<\/span><\/span> o <\/span><\/span>no <\/span><\/span>deber\u00edamos<\/span><\/span>\u2013<\/span><\/span> ni <\/span><\/span>soslayar ni compensar<\/span><\/span>; que no existe tal cosa como una <\/span><\/span>danza <\/span><\/span>\u201c<\/span><\/span>totalmente vivencial<\/span><\/span>\u201d<\/span><\/span> y libre de <\/span><\/span>perplejidad, porq<\/span><\/span>ue verse<\/span><\/span>, pensarse o<\/span><\/span> desearse danzar <\/span><\/span>ya es danzar<\/span><\/span>. Y no habr\u00ed<\/span><\/span>a danza<\/span><\/span> ni razones de danzar,<\/span><\/span> de no haber ceguera, confusi\u00f3n o decepci\u00f3<\/span><\/span>n<\/span><\/span>. <\/span><\/span>Javier Mart<\/span><\/span>\u00edn danza como si le<\/span><\/span>yera a oscura<\/span><\/span>,<\/span><\/span>tante\u00e1ndolas<\/span><\/span> con l<\/span><\/span>a prudencia de un pale\u00f3grafo y con <\/span><\/span>la ternu<\/span><\/span>ra<\/span><\/span>de un enamorado,<\/span><\/span> las runas de un alfabeto desconocido<\/span><\/span>.<\/span><\/span> Verle bailar es como verle pensarse, porque<\/span><\/span> piensa como ama: con derroche<\/span><\/span> pero sin \u00e9nfasis. <\/span><\/span>Porque, habiendo renunciado a dar por sentado el cuerpo, tampoco <\/span><\/span>da<\/span><\/span> por sentad<\/span><\/span>a la danza<\/span><\/span>. N<\/span><\/span>o le interesa<\/span><\/span> la <\/span><\/span>\u201c<\/span><\/span>forma del movimiento<\/span><\/span>\u201d<\/span><\/span> porque<\/span><\/span> el movimiento<\/span><\/span>, para \u00e9l, es sobre todo una<\/span><\/span> materia<\/span><\/span> oscura<\/span><\/span>: no ya<\/span><\/span> \u201c<\/span><\/span>acci\u00f3n<\/span><\/span> de<\/span><\/span>l cuerpo<\/span><\/span>\u201d<\/span><\/span>, sino<\/span><\/span> prolon<\/span><\/span>gaci\u00f3n,<\/span><\/span> eco, <\/span><\/span>e<\/span><\/span>manaci\u00f3n de la carne<\/span><\/span>. A rastrear la qu\u00edmica de esa <\/span><\/span>mate<\/span><\/span>ria, <\/span><\/span>y <\/span><\/span>a intentar deducirla <\/span><\/span>indirectamente,<\/span><\/span>como han hecho las ciencia<\/span><\/span>s<\/span><\/span> con todo lo demasiado lejano y con todo lo demasiado cercano<\/span><\/span>;<\/span><\/span> a inten<\/span><\/span>tar medir las<\/span><\/span>resonancia<\/span><\/span>s<\/span><\/span>, <\/span><\/span>los <\/span><\/span>valores<\/span><\/span> radiosc\u00f3picos<\/span><\/span>,<\/span><\/span> los <\/span><\/span>rastros<\/span><\/span> y posos discursivos,<\/span><\/span> los<\/span><\/span> espectros f\u00edsicos y simb\u00f3licos<\/span><\/span>,<\/span><\/span> las vibraciones, los chasquidos y burbujeos,<\/span><\/span> el polvo de esa materia,<\/span><\/span> Javier <\/span><\/span>Mart\u00edn ha ded<\/span><\/span>icado<\/span><\/span>, como <\/span><\/span>a la soluci\u00f3n de un<\/span><\/span> teorema<\/span><\/span>trascendental<\/span><\/span>, buena parte de <\/span><\/span>su viaje<\/span><\/span> por los espacios<\/span><\/span>laber\u00ednticos<\/span><\/span> del cuerpo<\/span><\/span> –<\/span><\/span> y por el cuerpo<\/span><\/span> laber\u00edntico<\/span><\/span> del espacio<\/span><\/span>–<\/span><\/span>.
\n<\/span><\/span><\/p>\n

Hecho de rodeos infinitos alrededor de un indecible, el mismo viaje desaf\u00eda cualquier cart<\/span><\/span>ela, <\/span><\/span>estatuto, e<\/span><\/span>stad\u00edstica<\/span><\/span>. E<\/span><\/span>ti<\/span><\/span>quetar la identidad coreogr\u00e1fica de Javier Mart\u00edn <\/span><\/span>resulta pr\u00e1cticamente imposible:<\/span><\/span> como si<\/span><\/span> hubiera decidido, hace tiempo, que<\/span><\/span> ser muy <\/span><\/span>impropiamente<\/span><\/span> core\u00f3grafo <\/span><\/span>u<\/span><\/span>n modo ver\u00eddico<\/span><\/span> de <\/span><\/span>coreografiar<\/span><\/span>; o que ser muy <\/span><\/span>im<\/span><\/span>propiamente<\/span><\/span> core\u00f3grafo fuera la \u00fanica<\/span><\/span> manera de <\/span><\/span>poner a bailar todo cuanto <\/span><\/span>excede la jurisdicci\u00f3n de la coreograf\u00eda al uso.<\/span><\/span> Mart\u00edn ha creado su universo po\u00e9tico, hecho de contaminaciones y proliferaciones, <\/span><\/span>con<\/span><\/span> criterios<\/span><\/span> exc\u00e9ntricos y expansivos: de la danza a la performance a la instalaci\u00f3n al m\u00f3dulo experimental a la clase magistral. <\/span><\/span>Ha renunciado a<\/span><\/span>inmunizarse contra los <\/span><\/span>mil<\/span><\/span> agentes de estr\u00e9s intelectual, formal y existencial<\/span><\/span> extr\u00ednsecos <\/span><\/span>al temario de la danza<\/span><\/span>, para<\/span><\/span>integrarlos, convertirlos en nuevas fuerzas el\u00e1sticas de expansi\u00f3n y anim<\/span><\/span>aci\u00f3n.<\/span><\/span> El resultado es un estilo de tr<\/span><\/span>abajo <\/span><\/span>vertebrado<\/span><\/span> por<\/span><\/span> la capacidad de conspirar po\u00e9ticamente con interlocutores <\/span><\/span>de todas las \u00e1reas (tanto del arte pl\u00e1stico como de las ciencias exactas)<\/span><\/span>. Hab\u00eda que poner a so\u00f1ar los saberes del cuerpo. Y como la <\/span><\/span>Traumarbeit<\/span><\/span>, <\/span><\/span>la labor del sue\u00f1o, es <\/span><\/span>una<\/span><\/span>edici\u00f3n<\/span><\/span> vertiginosa p<\/span><\/span>ero <\/span><\/span>minuciosa<\/span><\/span> hecha<\/span><\/span> ensamblaje<\/span><\/span> y costura<\/span><\/span>, <\/span><\/span>de <\/span><\/span>condensaci\u00f3n<\/span><\/span> y<\/span><\/span> sustituci\u00f3n,<\/span><\/span> de <\/span><\/span>reducci\u00f3n y amplificaci\u00f3n<\/span><\/span>,<\/span><\/span>Javier Mart\u00edn<\/span><\/span> ha convertido todas sus piezas en<\/span><\/span> talleres on\u00edricos, laboratorios experi<\/span><\/span>–<\/span><\/span>mentales<\/span><\/span>, <\/span><\/span>donde<\/span><\/span> el car\u00e1cter abierto<\/span><\/span>y objetivo<\/span><\/span> de la exposici\u00f3n<\/span><\/span> se compagina con<\/span><\/span> el <\/span><\/span>hermet<\/span><\/span>ismo<\/span><\/span>implacablemente su<\/span><\/span>bjetivo<\/span><\/span> de<\/span><\/span>l ejercicio espiritual, de la plegaria, de<\/span><\/span>l trance<\/span><\/span>, de la posesi\u00f3n<\/span><\/span>; donde, una vez m\u00e1s, la vivencia m\u00e1s irreduci<\/span><\/span>ble se corresponde con<\/span><\/span> el gesto m\u00e1s escrupuloso de escucha, observaci\u00f3n, medici\u00f3n<\/span><\/span>.<\/span><\/span><\/p>\n

Por eso,<\/span><\/span> Mart\u00edn no es s\u00f3lo un core\u00f3grafo excepcional<\/span><\/span> \u2013<\/span><\/span> o,<\/span><\/span> como prefiero definirlo, un <\/span><\/span>artista<\/span><\/span> que capta<\/span><\/span> la realidad en t\u00e9rminos excepcionalmente coreogr\u00e1ficos<\/span><\/span> –<\/span><\/span>.<\/span><\/span> Es tambi\u00e9n una excepci\u00f3n<\/span><\/span> en s\u00ed<\/span><\/span>, una <\/span><\/span>rara avis<\/span><\/span>.<\/span><\/span> E<\/span><\/span>xcepci\u00f3n<\/span><\/span> a<\/span><\/span>l vicio<\/span><\/span> com\u00fan<\/span><\/span> de <\/span><\/span>pedirle a la danza que beatifique la ignorancia de quien<\/span><\/span>es<\/span><\/span> la hace<\/span><\/span>n<\/span><\/span> – <\/span><\/span>porque <\/span><\/span>siendo<\/span><\/span> muy culto,<\/span><\/span> su curiosidad intelectual <\/span><\/span>es rayana en la tem<\/span><\/span>eridad<\/span><\/span> –<\/span><\/span>. Exc<\/span><\/span>epci\u00f3n a la idea preconcebida de que arte y ciencia habiten cuadrantes i<\/span><\/span>ncomunicados de la cosmovisi\u00f3n <\/span><\/span>– <\/span><\/span>porque <\/span><\/span>c<\/span><\/span>onsidera el arte como la <\/span><\/span>episteme m\u00e1s radical<\/span><\/span>, la m\u00e1s <\/span><\/span>trascendental<\/span><\/span> –<\/span><\/span>. Excepci\u00f3n a <\/span><\/span>l<\/span><\/span>a<\/span><\/span> exitosa<\/span><\/span> majader\u00eda de <\/span><\/span>quienes <\/span><\/span>se ded<\/span><\/span>ican a<\/span><\/span> cuestionar<\/span><\/span> el <\/span><\/span>legado del humanismo <\/span><\/span>– <\/span><\/span>porque es un humanista serio<\/span><\/span> –<\/span><\/span>. Exc<\/span><\/span>epci\u00f3n a la<\/span><\/span> religi\u00f3n del formato <\/span><\/span>\u2013<\/span><\/span> porque <\/span><\/span>co<\/span><\/span>nfecciona<\/span><\/span>r espect\u00e1culos es la \u00faltima de sus inquietudes, y <\/span><\/span>precisamente<\/span><\/span> a ra\u00edz de esta d<\/span><\/span>espreocupaci\u00f3n<\/span><\/span> sus pie<\/span><\/span>zas <\/span><\/span>desprenden<\/span><\/span> una teatralidad <\/span><\/span>dolorosamente <\/span><\/span>singular-. Exc<\/span><\/span>epci\u00f3n a<\/span><\/span> las religiones y a los dec\u00e1logos<\/span><\/span> tem\u00e1tico de la posmodernidad <\/span><\/span>\u2013<\/span><\/span> porque <\/span><\/span>sabe<\/span><\/span> que<\/span><\/span> el <\/span><\/span>apeg<\/span><\/span>o devoci<\/span><\/span>onal a<\/span><\/span> l<\/span><\/span>a<\/span><\/span>s <\/span><\/span>buenas causas<\/span><\/span> de <\/span><\/span>m\u00e1xima audiencia s\u00f3lo s<\/span><\/span>irve<\/span><\/span> para<\/span><\/span> amortizar<\/span><\/span> el instinto<\/span><\/span>, <\/span><\/span>que es<\/span><\/span>cient\u00edfico<\/span><\/span> y diab\u00f3lico a la vez<\/span><\/span>,<\/span><\/span> del detalle<\/span><\/span> perdido, de la contradicci\u00f3<\/span><\/span>n microsc\u00f3pica<\/span><\/span>. <\/span><\/span><\/p>\n

E<\/span><\/span>n <\/span><\/span>un<\/span><\/span> momento en el que<\/span><\/span> todos<\/span><\/span> propone<\/span><\/span>n<\/span><\/span> curas<\/span><\/span> milagrosas<\/span><\/span> y tratamientos paliativos para las enfermedades del mundo,<\/span><\/span>resulta casi her\u00e9tica <\/span><\/span>la<\/span><\/span> serenidad<\/span><\/span> de Javier<\/span><\/span> Mart\u00edn<\/span><\/span> en<\/span><\/span> cazar<\/span><\/span>s\u00edntomas<\/span><\/span>,<\/span><\/span> en<\/span><\/span> rastrear<\/span><\/span> nuevos<\/span><\/span> \u00f3rdenes<\/span><\/span> de<\/span><\/span> comprensi\u00f3n<\/span><\/span>,<\/span><\/span> en desandar<\/span><\/span> los paradigmas<\/span><\/span> asentados<\/span><\/span> de cosmovisi\u00f3n<\/span><\/span>. <\/span><\/span>Y esta herej\u00eda, que<\/span><\/span> nuestro core\u00f3grafo<\/span><\/span> com<\/span><\/span>parte co<\/span><\/span>n c<\/span><\/span>iertos cient\u00edficos revolucionarios<\/span><\/span>, consiste menos en mirar<\/span><\/span> ciegamente<\/span><\/span> hacia adelante que en volver <\/span><\/span>l\u00facidam<\/span><\/span>ente la vista hacia t<\/span><\/span>odo cuanto se nos hab\u00eda escapado<\/span><\/span>, <\/span><\/span>arrebatarle al r\u00e9gimen de la obviedad<\/span><\/span> todo cuanto d\u00e1bamos por sentado<\/span><\/span>. No hay saber que no sea, a su vez, una <\/span><\/span>forma de arq<\/span><\/span>ueolo<\/span><\/span>g\u00eda<\/span><\/span>. As\u00ed, <\/span><\/span>Javier Mart\u00edn es como <\/span><\/span>quien tiene que<\/span><\/span> inventarse su propia ciencia, su propio protocolo experimental, sus propios c\u00e1nones anal\u00edticos<\/span><\/span> y criterios <\/span><\/span>de verificaci\u00f3n<\/span><\/span> para <\/span><\/span>hurgar en capas de realidad tan remotas<\/span><\/span> que a\u00fan no <\/span><\/span>se le<\/span><\/span>s <\/span><\/span>conoce ninguna cartela, ninguna etiqueta en el repertorio de los saberes. Po<\/span><\/span>r eso, quiz\u00e1, sus dispositivos <\/span><\/span>pueden recordar ciertos talleres de alquimia<\/span><\/span>. P<\/span><\/span>orque, como la alquimia, su danza es una episteme oblicua<\/span><\/span>: hurga en la <\/span><\/span>oscuridad de la materia pero <\/span><\/span>apunta a las luces del esp\u00edritu; <\/span><\/span>busca incansablemente los puntos <\/span><\/span>opacos de confluencia<\/span><\/span> o<\/span><\/span>consiliency<\/span><\/span> entr<\/span><\/span>e disciplinas diferentes; <\/span><\/span>es a la vez tremendamente operativa<\/span><\/span>,<\/span><\/span> asc\u00e9ticamente<\/span><\/span> contemplativa<\/span><\/span>, e invariablemente perpleja<\/span><\/span>, porque representa <\/span><\/span>la docta i<\/span><\/span>gnorancia de quienes <\/span><\/span>asumen <\/span><\/span>el saber <\/span><\/span>m\u00e1s<\/span><\/span> co<\/span><\/span>mo <\/span><\/span>la aventura interior<\/span><\/span> de perderse<\/span><\/span> a uno mismo<\/span><\/span> que como el acto<\/span><\/span> exterior<\/span><\/span> de encontrar<\/span><\/span> o descubrir <\/span><\/span>algo<\/span><\/span>.<\/span><\/span> Y<\/span><\/span>, como <\/span><\/span>un alquimista<\/span><\/span>, sabe fracasar sob<\/span><\/span>eranamente, porque <\/span><\/span>el<\/span><\/span> enigma que lo<\/span><\/span> acosa<\/span><\/span> no <\/span><\/span>duerme<\/span><\/span> en <\/span><\/span>el carisma de los s\u00edmbolo<\/span><\/span>s<\/span><\/span>, sino en <\/span><\/span>la derrota<\/span><\/span> potencial<\/span><\/span> de cualquier s<\/span><\/span>\u00edmbolo ante la <\/span><\/span>resonancia<\/span><\/span> de la materia,<\/span><\/span> en <\/span><\/span>la <\/span><\/span>oscilaci\u00f3n casi s\u00edsmica<\/span><\/span> entre texto <\/span><\/span>si<\/span><\/span>mb\u00f3lico y textura carnal<\/span><\/span>. <\/span><\/span>Infinito no es el arte que significa, sino el que resignifica. Y es en esta potencia de resignificaci\u00f3n inagotable que el arte puede compartir la <\/span><\/span>humilde g<\/span><\/span>randeza d<\/span><\/span>e l<\/span><\/span>a episteme <\/span><\/span>cient\u00edfica<\/span><\/span>.<\/span><\/span> Mart\u00edn no se cansa de revisitar el museo fantasmag\u00f3rico de las ciencias trasnochadas, de l<\/span><\/span>os <\/span><\/span>dispositivos<\/span><\/span> olvidados, de <\/span><\/span>los saberes deslegitimados: de todo cuanto n<\/span><\/span>uestra idea muy instrumental de progreso ha <\/span><\/span>relegado <\/span><\/span>a<\/span><\/span>l<\/span><\/span> e<\/span><\/span>statuto de <\/span><\/span>la rareza<\/span><\/span>, <\/span><\/span>del <\/span><\/span>chisme, <\/span><\/span>del <\/span><\/span>artefacto,<\/span><\/span> del<\/span><\/span> juguete<\/span><\/span>, del fetiche, del ta<\/span><\/span>lism\u00e1n<\/span><\/span>. Porque <\/span><\/span>s\u00f3lo en el momento en el que mengua su promesa <\/span><\/span>original de saber objetivo, tod<\/span><\/span>as estas materias supervivientes liberan una promesa infinita de saberes fantasmales, <\/span><\/span>po\u00e9tico<\/span><\/span>s, incluso prof\u00e9ticos<\/span><\/span> \u2013<\/span><\/span> chatarra <\/span><\/span>on\u00edrica que, como todo lo on<\/span><\/span>\u00edrico, revela <\/span><\/span>mundos inte<\/span><\/span>riores que la ciencia no ha con<\/span><\/span>seguido explicitar, <\/span><\/span>teorema<\/span><\/span>s<\/span><\/span> existenciales<\/span><\/span> que <\/span><\/span>ninguna<\/span><\/span> l\u00f3gica<\/span><\/span> ha <\/span><\/span>logrado<\/span><\/span> plasmar<\/span><\/span>, mitos que ning\u00fan folclore ha conseguido confabular<\/span><\/span>. <\/span><\/span>El resultado es una <\/span><\/span>vibrante<\/span><\/span> somateca<\/span><\/span>: <\/span><\/span>un<\/span><\/span> repositorio delirante<\/span><\/span> y revelador de <\/span><\/span>\u201c<\/span><\/span>cuerpos <\/span><\/span>en <\/span><\/span>el cuerpo<\/span><\/span>\u201d<\/span><\/span> (cu<\/span><\/span>er<\/span><\/span>pos de sonido, corp\u00fasculos de materia, retales de tejidos<\/span><\/span>, <\/span><\/span>copias de \u00f3rganos, <\/span><\/span>am<\/span><\/span>uletos anat\u00f3micos)<\/span><\/span>; <\/span><\/span>un<\/span><\/span> “hiper-<\/span><\/span>archivo<\/span><\/span>“<\/span><\/span> f\u00fanebre y vivencial del cuerpo y de los enigmas objetuales e intelectuales que conf<\/span><\/span>orman<\/span><\/span> su expediente melanc\u00f3lico<\/span><\/span>.<\/span><\/span><\/p>\n

Texto de Roberto Fratini encargado por TRC Danza Mediaci\u00f3n, acompa\u00f1ando la muestra de la coreograf\u00eda El punto impropio en el Teatro Rosal\u00eda De Castro, el 17 de abril de 2026.<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Anatom\u00eda de un sinf\u00edn. Por Roberto Fratini, Entre el s\u00ed y el no, entre el pro y el contra, Existen as\u00ed inmensos espacios subterr\u00e1neos, donde el m\u00e1s amenazado de los hombres podr\u00eda vivir en paz. (Marguerite Yourcenar, L\u2019oeuvre au noir) … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-643","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/posts\/643","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/comments?post=643"}],"version-history":[{"count":5,"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/posts\/643\/revisions"}],"predecessor-version":[{"id":651,"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/posts\/643\/revisions\/651"}],"wp:attachment":[{"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/media?parent=643"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/categories?post=643"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.tea-tron.com\/javiermartin\/blog\/wp-json\/wp\/v2\/tags?post=643"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}