We had a title for this project, Qatar does not exist. “… but we no longer have it, just as some had a job, a house, a healthy body, a name and they no longer have it”.
We do not have a title, Qatar does not exist is a scenic experience that documents, from the spectacular look of the circus, part of the meeting that the trapeze artist Leire Mesa had in Tárrega with some resistance groups of the locality and people of diverse origins, abilities, genders and realities. Together they reflect on the concepts of power and resistance in relation to the identity construction, the work ethic, the affections and the bodies produced by this globalized society.
The trapeze has a new meaning in “No Tenemos Título”… the trapeze as a public place, political and promiscuous place, where anyone can exercise their voice.
In this circus element the word takes flight, with the same risk and danger to which the bodies of the circus are exposed.
We had a title for this project, Qatar does not exist.
“… but we no longer have it, just as some had a job, a house, a healthy body, a name and they no longer have it. “
Qatar was the hope to restore a bankrupt factory and return its workers to work. This country could have bought the most important factory of Tarrega, Indox, but he did not. We did not want before they gave a favorable answer or not, hurt the sensitivity of nobody annoucing from the title of a scenic and circus play that Qatar does not exist. In this way we respect the sensitivity of everyone and of ourselves. But we do not abandon the content of what the figure of Qatar represents as the richest country in the world, where there are no unions for workers, there are no labor inspections and there are many legal obstacles for employees to denounce injustices.
Now we recover the title in this explanatory text of what was the evolution of the project; how Jordi Bulgarian of origin recovers his real name, Goran, in No tenemos título.
We will not bore you in the play with political and economic dissertations, but we can already mention from the circus and a fragmented poetry with documentary dyes, that in the J. Trepat factory Qatar does not exist; but it exists in the desire of all those who lost faith in the promised paradise of the gods.
Qatar is far from our per capita income but it is in the postcards, in Wikipedia, in the 2022 world championship, in the promises of prosperity.