La cabellera [2da versión].

Farce performed by three 'bald grim reapers' rehearsing for a soirée in celebration of the Day of the Dead. The theme of the 'rehearsal' is hair, legends of the long hair of ancestral feminine characters like Medusa, Lady Godiva, Mary Magdalene, among others. The piece questions the tradition of patriarchal thought which depicts women's bodies as incarnations of evil; with the complicit help of science, religion, law, art and marketing, the symbolic damnation of women has been perpetuated, reinforced by new, contemporary myths. The ambivalent depiction of the feminine throughout history - as a muse, an object, a mother, a temptress, an angel, a witch - positions the feminine in a paradoxical crossroads of misogyny and idealization, rendering women a disempowered 'Other'. The piece poses a feminist commentary on these misogynist practices, using a meta-theatrical approach to the stories of famous feminine icons to denounce the injustices inflicted on them, and to celebrate their power and agency as women. La Máscara is the oldest feminist, all-women's theater in Colombia. Founded in 1972 in Cali, La Máscara was a political theater initially comprised of male and female actors; by the early 1980s, when only the women wanted to continue its theatrical trajectory, Lucy Bolaños decided to make La Máscara a women's ensemble fully dedicated to a feminine dramaturgy on gender issues. Committed to feminism and social change, they have stayed true to this mission, despite the many social and economic pressures they've had to endure in an environment plagued by violence and machismo, which constantly seeks to 'invisibilize' their work. They're not only creating and staging plays, but also working with marginalized communities, actively participating in political protests, and being involved in the organization of theater festivals. Through their work, they keep re-thinking women's role in the construction of a peaceful Colombia. Hemispheric Institute of Performance and Politics