In Drag(on), Mariana Tengner Barros summons the body as a portal of passage, not for representation, but for the raw experience of altered states. Between ritual and spectacle, the performer dissolves the protocols of the scene, shifting the gaze to a territory where the familiar opens up to mystery.
Between dragons and drag, between transvestism and shamanism, metamorphosis inscribes itself on the body as trance, spasm, and possession. There is no linear narrative, but invisible currents that drag the viewer through apocalyptic landscapes and aquatic mythologies. Banality becomes gilded, the face loses its contours, and gesture explodes into involuntary orgy.
This solo stands as an ode to water and its powers—tears, rivers, seas—celebrating difference, strangeness, and the visionary inner cosmos. Drag(on) is the emergence of a more real reality, an invitation to relearn how to see with the body, to feel the invisible, and to inhabit the forgotten imaginary.
