Prácticas en construción
The RPM 2026 laboratory with Amalia Fernández —titled Prácticas en Construción— seeks to create a collective version of her piece En Construcción.
En Construcción is the process of constructing a scene in front of the audience and subsequently deconstructing it, unfolding a series of forms that turn the scene itself into an excuse to move somewhere else.
In this sense, it is a journey from theatre, in its conventional sense, toward choreography. The scene itself is the stable framework that allows us to travel very far and then return. It is a place of departure and return that suggests an infinite, circular, yet non-repetitive time, since with each turn of the “circle” different dramaturgical and choreographic elements unfold, triggering new situations and structures (scores) and, consequently, new reinterpretations of the work. The unfolding proposed is concrete but not conclusive; in other words, it never fully closes. It suggests the infinite number of things that could happen if performance time were not limited.
En Construcción is not a piece with an ending, but rather a project that unfolds in different directions, with different goals, performers, and audiences.
The piece offers the spectator an experience of continuous transformation, as everything is rewritten, created, destroyed, and recreated with a new meaning, moving forwards and backwards, navigating between logic and absurdity, the conventional and the experimental, the repetitive and the unexpected.
En Construcción is visual music and musical imagery.
Amalia Fernández
Granada, 1970.
She trained in dance at the Conservatory of Seville and later took part in various laboratories with artists such as Ana Buitrago, Olga Mesa, Elena Córdoba and Mónica Valenciano, among others.
She was a member of the company “El Bailadero”, directed by Mónica Valenciano, for ten years. From 2005 onwards, she began creating and directing her own work. Since then, she has created and performed twelve stage pieces, including Matrioshka (2005), Kratimosha (2009), En construcción (2014), El resistente y delicado hilo musical (2017), Expografía (2019), Neti Neti (2021) and Solala (2024). She has also developed collaborative works with artists such as Juan Domínguez (Shichimi Togarashi), Nilo Gallego (Perrita China), Cuqui Jerez (The Nowness Mystery) and Sonia Gómez (Bailarina), among others.
As a teacher, she has collaborated with public institutions such as the Museo Nacional Centro de Arte Reina Sofía, the MPECV, the Institut del Teatre de Barcelona and the Faculty of Fine Arts at Complutense University of Madrid, as well as with various private organisations and foundations, leading creation laboratories. She is also a certified Iyengar Yoga teacher.
She regularly collaborates with different artists, accompanying them in their creative processes, including Laila Tafur, Joaquín Collado, La Chachi, Lucía Marote and Alberto Cortés.
She is currently performing in Lexicón, the latest work by El Conde de Torrefiel, and working on a writing project derived from the research process Neti Neti (What Is Dance for Me?), which will be published in 2027 by La Caldera and Nyamnyam.