In 1946, at the age of six, Enrique Vargas entered the world of theatre by inventing games in the Andean landscape of his Colombian hometown. He used to invite neighbours and friends to play with him, and hide from grownups in the intricate and mazelike coffee plantations, where they created fantastic stories full of surprise and imagery.
As an adult, he set his sights in recovering the spirit of those forbidden games and into developing a poetic of the senses that would endow them with meaning. This research took him to the National Drama School in Bogota- Escuela Nacional de Arte Dramático de Bogotá- and to Michigan where he studied theatre anthropology. There, he set up street performances Commedia dell’Arte style as part of Harlem’s neighbourhood festivities with New York’s La Mamma theatre, and worked on Poetics of the Object with Peter Schuman from Bread and Puppet theatre.
Afterwards, he spent 20 years researching games, myths and rituals from the Colombian Amazonic region, and teaching Dramatic Art of the Sensory Image at Colombia’s National University- Universidad Nacional de Colombia. He also worked as art director for the Time Festival in Gent (Belgium) on the subject of Ars Vivendi, Ars Moriendi.
Now Enrique lives in Barcelona, where he is producing Caixa d’Eines, a box of research and creative tools in El Polvorín, an old gunpowder factory near Montjuic Castle, without any expectations of finding an answer.
Because, for Enrique, questions are more than enough.