In Self Made Man, Nina Santes interlace movement, talking, singing,
and deploying the scenography in reel-time. In articulating these multiple practices, she is considering the stage as the place of a possible handcraft, as an open manufacturing studio. A free, blank space, dedicated to the making, directed by a self-taught, handyman, intuitive spirit. Worksite for one body and one space, Self Made Man celebrates the fragile balance between the time of making and the time of contemplation.
It’s about construction, destruction and reconstruction. Of the body, of the sound, of the images, of identity, of a home, a relation to this world.
Self Made Man is a polyphonic score for a lonely self-taught person. It’s the birth of a language, a language of surviving by recreating the self. It’s the slow and progressive realisation of a deep utopia.