1. HOTEL MAIDS by Lola Arias

    Hotels are the same the world over. Be it Buenos Aires, Berlin or Teheran, after going through the automatic glass door that separates the lobby from the city you encounter the same functional music, signs in English, and smiling people in uniform... We enter a new country: IBIS-Land, Suite-Hotel-Land, Holiday-Inn-Land...
    At reception we request a key to an apartment that will be a substitute for our home.
    We spend the night in anonymous rooms where anonymous beings make our beds, clean our baths, change our sheets. Most of them are foreigners. And we too are foreigners in the hands of other foreigners who look after us in our absence.
    Who are these ghosts who come into our room when we’re not there? Where do they come from? A war zone, an economic crisis, a suburb? What have they experienced, what do they know about other people’s lives? How many naked bodies, flooded bathrooms, dishevelled beds, sleeping people, strange clothes and smells do they encounter in the course of one day?
    “Hotel Maids” is an installation composed of biographies. Each visitor adopts the role of a chambermaid responsible for five rooms per hour. But instead of cleaning, the audience spends the hour walking through the five rooms, where they discover portraits of the cleaning staff: films, original voice recordings and photographs that bring to light something of the invisible spirits who clean up after others.

    Video: Mikko Gaestel.
    This project was done in Berlin, Buenos Aires, Zurich, Warsaw, Singapur, Utrecht, Copenhagen

    # vimeo.com/47829401 Uploaded 1,523 Plays 0 Comments
  2. STRIPTEASE takes a shot at the death of love. If a baby is the fruit of love and love were to die, might the baby then commit suicide?
    The main actor of this play is a baby. Like spies, the spectators witness a telephone duel between a man and a woman while a baby sleeps, drinks milk, etc. The fictional space of the play is constantly being intervened upon by the actions of a baby, who is pure life in its most rebellious aspect.

    Man: I think babies dream of God.
    Woman: Because they saw him before they were born?
    Man: No. Because God is a baby and is inside all babies until they begin to talk.
    Woman: And after that?
    Man: In the exact moment in which they utter the first syllable, God leaves their body and abandons them forever…
    Woman: I look at him and I don’t understand him. He’s like a blank page. Yesterday when I was giving him his bath he stuck his head underwater for ages…Do you think babies can commit suicide?

    CREDITS:
    Cast: Natalia Miranda, Humaia Miranda (baby), Gonzalo Martínez.
    Sound Design: Ulises Conti.
    Set Design: Leandro Tartaglia.
    Lighting: Matías Sendón.
    Assistant Directors: Eugenia Schor, Alfredo Staffolani.
    Writer and Director: Lola Arias.

    # vimeo.com/47815150 Uploaded 2,151 Plays 0 Comments
  3. REVOLVER DREAM tests reality, love, and dreams. How do I know whether I’m awake or asleep?
    A strange night in the life of teenager and a man living in a post-nuclear Buenos Aires, with blackouts that last for months, organized crime fighting over control of every neighborhood, and men and women sleeping with revolvers under their pillows.

    Teenager: My nose is bleeding…Now I remember what I was dreaming when the Chinese woke me up. I was dreaming about my wedding. I was walking down the aisle in a church with blind children holding my really long train. As I was walking my nose started bleeding like crazy and it stained the wedding dress. There was a man standing at the altar with his back to me and when I took my veil off to kiss him, I realized he had no face. His face was covered with knee skin, all wrinkly, with no eyes or mouth or nose. So I took a revolver out of my wedding dress. It was a 32 caliber…

    CREDITS:
    Cast: Inés Efron, Gonzalo Martínez.
    Sound Design: Ulises Conti.
    Set Design: Leandro Tartaglia.
    Lighting: Matías Sendón.
    Assistant Directors: Eugenia Schor, Alfredo Staffolani.
    Writer and Director: Lola Arias.

    # vimeo.com/47815149 Uploaded 371 Plays 0 Comments
  4. LOVE IS A SNIPER is a Russian roulette played by suicidal lovers. The organizer of the game is an eleven-year-old girl. It involves six players, like the six bullets in the chamber of the revolver: the Shy Boy, Beauty, the Boxer, the Country Girl, the Don Juan, and the Stripper. A rock band plays during the game.
    The play is a photo album with confessions, live songs, crying contests, boxing matches, the reconstruction of dreams, dance choreographies. Like a dream repeating itself with slight variations, a different character dies at the end of each performance.

    Love is a striptease in which not only do you take off your clothes, but you also strip off your organs: your heart, your brain, your stomach. I don’t ever want to fall in love again.

    CREDITS:
    Cast: Luciana Acuña. Lola Arias, Esteban Lamothe, Alfredo Martín, Julia Martinez Rubio, Ignacio Rogers, Lucia Sternichia Kaplan.
    Choreography: Luciana Acuña.
    Live Musicians: Ulises Conti, Andrés Ravioli.
    Original Score: Ulises Conti, Lola Arias.
    Set Design: Leandro Tartaglia.
    Lighting: Matías Sendón.
    Photography: Lorena Fernandez.
    Assistant Director: Juan Devoto.
    Writer: Lola Arias.
    Directors: Lola Arias, Alejo Moguillansky.

    # vimeo.com/47815148 Uploaded 946 Plays 0 Comments
  5. THE YEAR I WAS BORN
    My life after was presented at the Santiago a Mil Festival in 2011, a work by Argentine playwright Lola Arias. The play’s starting point is a concept: artists born under a dictatorship rebuild their parents’ youth from photographs, letters, tapes, used clothing, stories, forgotten memories. At the root of this, she held a workshop with the idea of creating an album of biographies telling the recent history of Chile. The Chilean artists who took part in the workshop will premiere their work at this year’s Santiago a Mil, written and directed by Lola Arias.
    El año en que nací parte del mismo concepto que la obra Mi vida después. Jóvenes nacidos durante la dictadura reconstruyen la juventud de sus padres a partir de fotos, cartas, cintas, ropa usada, relatos, recuerdos borrados. “¿Cómo era mi país cuando yo nací? ¿Qué hacían mis padres en esa época? ¿Cuántas versiones existen sobre lo que pasó cuando yo era tan chico que ni recuerdo?”, se preguntan.

    Mi vida después se estrenó en Argentina en el 2009 y fue presentada en Santiago a Mil 2011. En paralelo a las presentaciones, se llevó a cabo un taller con el mismo concepto de la obra: hacer aparecer un fascinante álbum de biografías que dieran cuenta de la historia reciente de Chile. Para la edición de Santiago a Mil 2012, el grupo de jóvenes chilenos que realizó aquel taller dirigido por Lola Arias reconstruirá la historia de las generaciones nacidas durante la dictadura de Pinochet a partir de sus propios recuerdos y documentos.

    El año en que nací cuenta la historia de una chilena nacida en México porque sus padres militaban en el MAPU, del hijo de un policía que fue guardaespaldas de Allende y luego dijo que había que guardar silencio, de la hija de una militante del MIR que fue asesinada en la Operación Fuenteovejuna, de los que tomaban sol y se fueron a vivir en Estados Unidos, de los cortes de luz que hacían los del Frente, de los que fundaron Patria y Libertad…
    OBRA El año en que nací
    TEXTO Y DIRECCIÓN Lola Arias
    ASISTENCIA ARTÍSTICA Y DE INVESTIGACIÓN Paula Bravo
    DIRECCIÓN AUDIOVISUAL Nicole Senerman
    MÚSICA Ulises Conti
    ESCENOGRAFÍA Y LUCES Rocío Hernández
    PRODUCCIÓN Carolina Araya
    ACTORES Nicole Senerman, Ítalo Gallardo, Alejandro Gómez, Jorge Rivero, Fernanda González, Ana Laura Racz, Leopoldo Courbis, Pablo Díaz, Soledad Gaspar, Alexandra Benado y Viviana Hernández

    # vimeo.com/48653170 Uploaded 2,726 Plays 0 Comments

WORKS by LOLA ARIAS

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