- Page 1:
Cabello/Carceller Borrador para una
- Page 4 and 5:
BORRADOR PARA UNA TRAMA EN CURSO ii
- Page 7:
1 BORRADOR PARA… — DRAFT FOR…
- Page 10 and 11:
MANUEL SEGADE 4 En el momento en qu
- Page 12 and 13:
MANUEL SEGADE 6 Este relato convenc
- Page 14 and 15:
MANUEL SEGADE 8 se a las produccion
- Page 16 and 17:
MANUEL SEGADE 10 de afecto, erótic
- Page 18 and 19:
MANUEL SEGADE 12 es la razón embri
- Page 20 and 21:
MANUEL SEGADE 14 real donde fue fil
- Page 22 and 23:
MANUEL SEGADE 16 14.— Rapear Filo
- Page 25 and 26:
19 SETTING Just what is it that mak
- Page 27 and 28:
21 SETTING Time Contributing a conv
- Page 29 and 30:
23 SETTING which they photographed
- Page 31 and 32:
25 SETTING These forms of work, col
- Page 33 and 34:
27 SETTING The term Cabello/Carcell
- Page 35 and 36:
29 SETTING identity is constructed
- Page 37 and 38:
31 SETTING 1.— The title “Just
- Page 39:
33 SETTING anal» de Beatriz Precia
- Page 42 and 43:
JUAN ALBARRÁN 36 «Am I real? Or a
- Page 44 and 45:
JUAN ALBARRÁN 38 que, parece, van
- Page 46 and 47:
JUAN ALBARRÁN 40 El actor, por tan
- Page 48 and 49:
JUAN ALBARRÁN 42 sean profesionale
- Page 50 and 51:
JUAN ALBARRÁN 44 1.— Martí Mane
- Page 53 and 54:
47 SETTING Dissidence myse-en-abyme
- Page 55 and 56:
49 SETTING representation: the scen
- Page 57 and 58:
51 SETTING she scrawls on the white
- Page 59 and 60:
53 SETTING Alienation, inadequacy,
- Page 61 and 62:
55 SETTING identity; how friction a
- Page 63:
57 SETTING Theory”, in Theatre Jo
- Page 66 and 67:
GRISELDA POLLOCK 60 jerárquico, as
- Page 68 and 69:
GRISELDA POLLOCK 62 que cantaba Geo
- Page 70 and 71:
GRISELDA POLLOCK 64 combina varias
- Page 72 and 73:
GRISELDA POLLOCK 66 puntos de refer
- Page 75 and 76:
69 SETTING Queer Precarity, The Sea
- Page 77 and 78:
71 SETTING instability of the type,
- Page 79 and 80:
73 SETTING waiting has an objective
- Page 81:
75 SETTING the economic basis for t
- Page 84 and 85:
KATHRYN WEIR 78 de aproximarse al s
- Page 86 and 87:
KATHRYN WEIR 80 samente por su sens
- Page 88 and 89:
KATHRYN WEIR 82 Butler considera qu
- Page 91 and 92:
85 SETTING Walking the Talk: Cabell
- Page 93 and 94:
87 SETTING In his important essay
- Page 95 and 96:
89 SETTING stand or interpret what
- Page 97:
91 SETTING 1.— Rapear Filosofía:
- Page 100 and 101:
JESÚS CARRILLO 94 femenino quedar
- Page 102 and 103:
JESÚS CARRILLO 96 de someterse a u
- Page 104 and 105:
JESÚS CARRILLO 98 o demasiado tard
- Page 107 and 108:
101 SETTING Casting * — Jesús Ca
- Page 109 and 110:
103 SETTING The idea of casting, de
- Page 111 and 112:
105 SETTING yond a sheer change of
- Page 113:
107 SETTING 1.— Laura Mulvey, Pla
- Page 116 and 117:
MARÍA VIRGINIA JAUA 110 Claro, es
- Page 118 and 119:
MARÍA VIRGINIA JAUA 112 anglosajon
- Page 120 and 121:
MARÍA VIRGINIA JAUA 114 Los proces
- Page 122 and 123:
MARÍA VIRGINIA JAUA 116 na, y fue
- Page 125 and 126:
119 SETTING Perspectives and Parado
- Page 127 and 128:
121 SETTING of the museum and it ha
- Page 129 and 130:
123 SETTING Some of the archived ma
- Page 131 and 132:
125 SETTING beauty of a situation g
- Page 133:
127 SETTING Not only do we see an e
- Page 136 and 137:
CABELLO/CARCELLER 130 Sujetos impre
- Page 138 and 139:
CABELLO/CARCELLER 132 Donde todos s
- Page 140 and 141:
CABELLO/CARCELLER 134 — Donde tod
- Page 142 and 143:
CABELLO/CARCELLER 136 Lost in Trans
- Page 144 and 145:
CABELLO/CARCELLER 138 transgredién
- Page 146 and 147:
CABELLO/CARCELLER 140 ES — EN
- Page 148 and 149:
CABELLO/CARCELLER 142 ES — EN
- Page 150 and 151:
CABELLO/CARCELLER 144 Rapear Filoso
- Page 152 and 153:
CABELLO/CARCELLER 146 africanos. Su
- Page 154 and 155:
CABELLO/CARCELLER 148 ES — EN
- Page 156 and 157:
CABELLO/CARCELLER 150 — Rapear Fi
- Page 158 and 159:
CABELLO/CARCELLER 152 El Estado de
- Page 160 and 161:
CABELLO/CARCELLER 154 español de l
- Page 162 and 163:
CABELLO/CARCELLER 156 Judith Butler
- Page 164 and 165:
CABELLO/CARCELLER 158 — El Estado
- Page 166 and 167:
CABELLO/CARCELLER 160 — El Drag e
- Page 168 and 169:
CABELLO/CARCELLER 162 Bailar El gé
- Page 170 and 171:
CABELLO/CARCELLER 164 su desmateria
- Page 172 and 173:
CABELLO/CARCELLER 166 ES — EN
- Page 174 and 175:
CABELLO/CARCELLER 168 ES — EN
- Page 176 and 177:
CABELLO/CARCELLER 170 ES — EN
- Page 178 and 179:
CABELLO/CARCELLER 172 Performer Oct
- Page 180 and 181:
CABELLO/CARCELLER 174 — Performer
- Page 182 and 183:
CABELLO/CARCELLER 176 Una/Otra Ciud
- Page 184 and 185:
CABELLO/CARCELLER 178 — Una/Otra
- Page 186 and 187:
CABELLO/CARCELLER 180 Una/Otra Ciud
- Page 188 and 189:
CABELLO/CARCELLER 182 — Una/Otra
- Page 190 and 191:
CABELLO/CARCELLER 184 ES — EN
- Page 192 and 193:
CABELLO/CARCELLER 186 Después de y
- Page 194 and 195:
CABELLO/CARCELLER 188 ES — EN
- Page 196 and 197:
CABELLO/CARCELLER 190 Pintura sobre
- Page 198 and 199:
CABELLO/CARCELLER 192 Suite Rivolta
- Page 200 and 201:
CABELLO/CARCELLER 194 — Suite Riv
- Page 202 and 203:
CABELLO/CARCELLER 196 Off Escena: S
- Page 204 and 205:
CABELLO/CARCELLER 198 ES — EN
- Page 206 and 207:
CABELLO/CARCELLER 200 — Off Escen
- Page 208 and 209:
CABELLO/CARCELLER 202 Sujetos impre
- Page 210 and 211:
CABELLO/CARCELLER 204 A/O (Caso Cé
- Page 212 and 213:
CABELLO/CARCELLER 206 al proyecto y
- Page 214 and 215:
CABELLO/CARCELLER 208 — A/O (Caso
- Page 216 and 217:
CABELLO/CARCELLER 210 — A/O Blow
- Page 218 and 219:
CABELLO/CARCELLER 212 Archivo: Drag
- Page 220 and 221:
CABELLO/CARCELLER 214 — Agata com
- Page 222 and 223:
CABELLO/CARCELLER 216 — Toni como
- Page 224 and 225:
CABELLO/CARCELLER 218 Sin título (
- Page 226 and 227:
CABELLO/CARCELLER 220 No es él (Af
- Page 228 and 229:
CABELLO/CARCELLER 222 Los vídeos q
- Page 230 and 231:
CABELLO/CARCELLER 224 — Casting:
- Page 232 and 233:
CABELLO/CARCELLER 226 Ejercicios de
- Page 234 and 235:
CABELLO/CARCELLER 228 — Ejercicio
- Page 236 and 237:
CABELLO/CARCELLER 230 — Ejercicio
- Page 238 and 239:
CABELLO/CARCELLER 232 After Apocaly
- Page 240 and 241:
CABELLO/CARCELLER 234 — After Apo
- Page 242 and 243:
CABELLO/CARCELLER 236 — After Apo
- Page 244 and 245:
CABELLO/CARCELLER 238 Instrucciones
- Page 246 and 247:
CABELLO/CARCELLER 240 The End (desp
- Page 248 and 249:
CABELLO/CARCELLER 242 Se vende Octu
- Page 250 and 251:
CABELLO/CARCELLER 244 Utopía: ida
- Page 252 and 253:
CABELLO/CARCELLER 246 Autorretrato
- Page 254 and 255:
CABELLO/CARCELLER 248 ES — EN
- Page 256 and 257:
CABELLO/CARCELLER 250 Autorretrato
- Page 258 and 259:
CABELLO/CARCELLER 252 Alguna parte
- Page 260 and 261:
CABELLO/CARCELLER 254 ES — EN
- Page 262 and 263:
CABELLO/CARCELLER 256 Sin título (
- Page 264 and 265:
CABELLO/CARCELLER 258 ES — EN
- Page 266 and 267:
CABELLO/CARCELLER 260 Utopía (Afte
- Page 268 and 269:
CABELLO/CARCELLER 262 distiende y p
- Page 270 and 271:
CABELLO/CARCELLER 264 ES — EN
- Page 272 and 273:
CABELLO/CARCELLER 266 Sin título F
- Page 274 and 275: CABELLO/CARCELLER 268 Sin título (
- Page 276 and 277: CABELLO/CARCELLER 270 ES — EN
- Page 278 and 279: CABELLO/CARCELLER 272 Sin título (
- Page 280 and 281: CABELLO/CARCELLER 274 Bollos Agosto
- Page 282 and 283: CABELLO/CARCELLER 276 Prototipos (H
- Page 284 and 285: CABELLO/CARCELLER 278 — Prototipo
- Page 286 and 287: CABELLO/CARCELLER 280 — Prototipo
- Page 288 and 289: CABELLO/CARCELLER 282 Vídeo monoca
- Page 290 and 291: CABELLO/CARCELLER 284 Publicado en
- Page 292 and 293: CABELLO/CARCELLER 286 ES — EN
- Page 294 and 295: CABELLO/CARCELLER 288 Paisaje 1995
- Page 296 and 297: CABELLO/CARCELLER 290 — Paisaje #
- Page 298 and 299: CABELLO/CARCELLER 292 Vista parcial
- Page 300 and 301: CABELLO/CARCELLER 294 — Vista par
- Page 302 and 303: CABELLO/CARCELLER 296 Sin título (
- Page 304 and 305: CABELLO/CARCELLER 298 Sin título A
- Page 306 and 307: CABELLO/CARCELLER 300 Come y calla?
- Page 308 and 309: CABELLO/CARCELLER 302 — Come y ca
- Page 311 and 312: 305 TRAMA Ficciones 1 1998 - en pro
- Page 313 and 314: 307 TRAMA de acuerdo en el tiempo t
- Page 315 and 316: 309 TRAMA _Acerca de la humedad y d
- Page 317 and 318: 311 TRAMA mento y transformó para
- Page 319 and 320: 313 TRAMA juegos. Tras el primer de
- Page 321 and 322: 315 TRAMA Frente a su interlocutor
- Page 323: 317 TRAMA _Circunstancia (Ficción
- Page 327 and 328: 321 TRAMA _Piscina (Ficción nº 8)
- Page 329 and 330: 323 TRAMA ca lo que puede parecer e
- Page 331 and 332: 325 TRAMA Dicen que para analizar b
- Page 333 and 334: 327 TRAMA una cierta decepción ini
- Page 335 and 336: 329 TRAMA dado, ella tuvo que tomar
- Page 337 and 338: 331 TRAMA Venustiano Carranza, en u
- Page 339 and 340: 333 TRAMA na hablando de la perform
- Page 341 and 342: 335 TRAMA hubo un conflicto severo
- Page 343 and 344: 337 TRAMA listado de esos productos
- Page 345 and 346: 339 TRAMA Está allí, nos dicen, p
- Page 347 and 348: 341 TRAMA cuando recibe una llamada
- Page 349: 343 TRAMA _Un lugar apropiado (Ficc
- Page 352 and 353: CABELLO/CARCELLER 346 _The Closet (
- Page 354 and 355: CABELLO/CARCELLER 348 _Greys (Ficti
- Page 356 and 357: CABELLO/CARCELLER 350 distant obser
- Page 358 and 359: CABELLO/CARCELLER 352 _ The Archive
- Page 360 and 361: CABELLO/CARCELLER 354 ing card, we
- Page 362 and 363: CABELLO/CARCELLER 356 checking over
- Page 364 and 365: CABELLO/CARCELLER 358 ing in such a
- Page 366 and 367: CABELLO/CARCELLER 360 _Uncomfortabl
- Page 368 and 369: CABELLO/CARCELLER 362 _Federal Dist
- Page 370 and 371: CABELLO/CARCELLER 364 violence, and
- Page 372 and 373: CABELLO/CARCELLER 366 mas and unive
- Page 374 and 375:
CABELLO/CARCELLER 368 some cases, w
- Page 376 and 377:
CABELLO/CARCELLER 370 The relations
- Page 378 and 379:
CABELLO/CARCELLER 372 Lucas Alamán
- Page 380 and 381:
CABELLO/CARCELLER 374 closer, we ta
- Page 382 and 383:
CABELLO/CARCELLER 376 * * * * I lik
- Page 384 and 385:
CABELLO/CARCELLER 378 Nancy Cárden
- Page 386 and 387:
CABELLO/CARCELLER 380 not an exclus
- Page 388 and 389:
CABELLO/CARCELLER 382 _ Based On Ac
- Page 391 and 392:
385 TRAMA Nora 1995 - 2000 ——
- Page 393 and 394:
387 TRAMA Carta a Pepe Miralles. pe
- Page 395 and 396:
389 TRAMA Carta a Victoria Combalí
- Page 397 and 398:
391 TRAMA -Carta a J.V. Aliaga y Ma
- Page 399 and 400:
393 TRAMA Carta a Alicia Murría. F
- Page 401 and 402:
395 TRAMA Carta a Guy Boyer y Alici
- Page 403 and 404:
397 PLOT Nora 1995 - 2000 ———
- Page 405 and 406:
399 TRAMA Letter to Pepe Miralles.
- Page 407 and 408:
401 TRAMA Letter to Victoria Combal
- Page 409 and 410:
403 TRAMA Letter to J.V. Aliaga y M
- Page 411 and 412:
405 TRAMA Letter to Alicia Murría.
- Page 413 and 414:
407 TRAMA Letter to Guy Boyer y Ali
- Page 415:
409 BORRADOR PARA… — DRAFT FOR
- Page 418 and 419:
CABELLO/CARCELLER 412 cic, Cabello/
- Page 420 and 421:
CABELLO/CARCELLER 414 Catálogos, l
- Page 422 and 423:
CABELLO/CARCELLER 416 ————
- Page 425 and 426:
419 BORRADOR PARA… — DRAFT FOR
- Page 427 and 428:
421 CRÉDITOS Corrección de textos
- Page 429 and 430:
423 CREDITS Proofreading David Sán
- Page 432:
Cabello/Carceller es un colectivo d