I’m going far away, I start in Madrid, but we’ll be right back. It is because, in the Teatros del Canal, Amalia Fern\u00e1ndez presents En construcci\u00f3n 2<\/em>, from October 12th to the 14th, a scenic piece that we saw in Barcelona, \u200b\u200bat Mercat de les Flors, in the S\u00e2lmon< festival two years ago. But, in the hand program, I have read this:<\/p>\n “Amalia Fern\u00e1ndez (Granada, 1970) belongs to a generation of national artists who understand dance as a territory of research, experimentation and questioning that does not necessarily respond to the conventions of representation, so each proposal is a challenge not only for the author, but for the artists who accompany her and the public that comes to see her. Her works move around the periphery of pre-established schemes and lead the viewer to routes whose final destination is often unknown to everyone. ”<\/p>\n I wanted to talk about this. And not only about national artists, whatever nation we are talking about. And not only of those who come from dance, but them too. I would like to talk about this type of artists.<\/p>\n Let’s go back to Barcelona. Let’s start with Can Felipa. In Escena Poblenou, Leer es sexy presents Being Britney Spears<\/em> on the 20th and Videoplaylist feminism pop<\/em> on the 21st. Britney Spears speaking as Virginia Woolf in A room of her own<\/em> or Virginie Despentes in King Kong Theory<\/em>. Feminist ideology and gender identity in communion with the culture of entertainment thanks to the mastery of the technique of film dubbing.<\/p>\n