A plot exposed, a foul deed enacted invites scandal. In the spirit of revolution or romantic musings, scandals provoke an imagining of the impossible. Utopian or mundane, how might scandal reveal what lies unwittingly close to our fantasies? And how does it expose where society places its limits? If life is a scandal waiting to be plotted, how do we position ourselves within its matrix? Immoral and lacking propriety, scandals are incidents where fantasy and pleasure take centre stage. Guided by the questions of whom this pleasure is for and at what expense, Lewis’s new plot explores the stage where scandals abound. Weaving together historical, anecdotal, political, and mythical narratives – ranging from an interest in the Enlightenment thinker John Locke, Maria Olofa (Wolofa) in the slave revolt of Santo Domingo in 1521, Cuban artist and revolutionary José Aponte, and Lewis’s great grandmother, a figure Lewis turns to within her plot as a guide of resistance − the choreographer constructs the poetics of refusal at the edges of representation. A dance between affect and embodiment, seeing and being seen. “A Plot/A Scandal”, a performance that marks Ligia Lewis’s return to Santarcangelo after the presentation of “minor matter” in 2018 – is a scene in the making where the excitement for that which does not fit might find its place.

The work unfolds through the following parts:
Prelude
Plot 1 John Locke
Plot 2 Rebellion
Intermezzo: John Locke cleans up his mess
Plot 3: Story of Lolon / fuck up the plot
Outro: Repair ?