The image of a person speaking to an audience of plants hovered over the head of the playwright Manuela Infante (Santiago de Chile, 1980) for years. She even named the project “conference to plants”; but it remained there, stored in her memory. The time wanted Infant engages with the philosophical current poshumanista, one that challenges the anthropocentrism applied to all aspects of life. Only then did the image come back and make sense.
The rest was to approach the study of plants. “I was impressed with the wonder of vegetable thought,”recalls the playwright, ” of the vegetal consciousness, of the forms of movement, and I found it essential to apply this look to the theatre.” To this exploration responds “plant State”, a staging that proposes the possibility of a dialogue between humans and plants, a relevant issue in times where neglect is expressed in predated and incinerated forests. But, as the author put it, it is a more ambitious and critical project: one wants to imagine what a world is like in which human beings are not the center.
There are, however, those who might call their approach contradictory. “It is certainly a contradiction,” he notes, ” because the theatre we have been taught is centered on it. But it is not so absurd if one goes back to the origins of the experience of dancing around the fire, say, or of a bacchanal dionisiac. These events were forms of rites that referred to the mysterious, the unknown, the great forces. Even if one thinks of the Greek tragedy, one realizes that it is largely the conscious human being who is not in control and who is not the center of things.; deep down, his tragic fall is to realize that,” he explains.
On stage, the actress Marcela Salinas brings forward a monologue in which she multiplies in different characters, sharing her versions of how the accident of a fireman happened, who when colliding against a tree was in a vegetative state. An opportunity to think about our relationship with the platas.