The visual strength of the body work brings verisimilitude to a dreamlike world, where choreography and gestures are on a narrative level with the well-ordered words, until rhythm and movement convey the desires and emotions of a lost mind.

The experimental psychologist Endel Turving proposed two types of memory in 1972. Episodic memory allows us to remember the what, when and where of a specific experience. Autobiographical memory, which generates self-awareness in narratives of the past and plays a fundamental role in the construction of personal identity. The protagonist of BÚHO is a forensic anthropologist who asks many questions to the bones of corpses in order to reconstruct stories with few certainties. An accident leaves him without memory, and now it is he who seeks the answers that a psychologist invites him to write down in the pages of a notebook, so that he can come closer to the maxim of the novelist Luis Landero: ‘Write what you remember and you will tell the truth’.

The dramaturgy enhances the narrative value of technical elements that combine beauty and efficiency. Lighting, sound space and visual projections transform the scenography to build a bridge between the intense clarity of a horizontal present and the vertical depth of a forgotten memory. That anguish that goes from a clearly recognisable world to the shadows of a grotto where memories lie, flashes of light on fragments of the past, and an Ariadne’s thread unable to find the way out of the labyrinth towards life.

The work of the actors moves with fluidity and versatility between two different levels of interpretation. The overwhelming organic simplicity allows them to handle the truth of dialogues that turn over and over again on a disorder that repeats itself. The visual strength of the body work brings verisimilitude to a dreamlike world, where choreography and gestures are on a narrative level with the well-ordered words, until rhythm and movement convey the desires and emotions of a lost mind.