Amelia Repetto

Amelia Repetto is an actress, performance maker, and psychiatrist specializing in art and mental health. Her artistic practice unfolds between Argentina and Spain, bringing together performance research, contemporary theatre, visual arts, and critical thinking. Her work explores the relationships between the body, memory, archives, institutions, and mental health, developing hybrid formats that integrate theatre, performance, installation, lecture-performance, and site-specific actions. She is a member of the ARTEA research group at the University of Castilla–La Mancha.

In June 2026, she was invited as a featured artist to COSMORAMA, a programme jointly organized by the Centro de Arte Dos de Mayo (CA2M) and La Casa Encendida, participating as a creator in a programme dedicated to contemporary artistic practices.

In September 2025, she premiered Vitis Viniféra, an original creation presented at the Surge Madrid en Otoño Festival. The work was later programmed in February 2026 as part of the Argentine Theatre Cycle at Umbral de Primavera.

Between October 2024 and September 2025, she worked as a performer in a production by Santiago Sierra while also developing performing arts laboratories at the Centro de Arte Dos de Mayo (CA2M), where she continues to coordinate research and performance creation processes.

In March 2025, she performed in Lavapiés, directed by Fernando Ferrer and presented at Teatro del Barrio (winner of Spain’s 2024 National Theatre Award). That same year, she toured La Rioja with Romance de la Negra Rubia, performing in Logroño, Ábalos, Leza, and Peroblasco.

In 2024, she was an artist-in-residence in the Tejidos Conjuntivos programme at the Museo Nacional Centro de Arte Reina Sofía, under the direction of Germán Labrador. During the residency, she developed a project combining performative installation, site-specific performance, and 16 mm film, from which BZD. El entierro emerged—a work that deepens her research into memory, archives, the body, and ritual.

That same year, she premiered Romance de la Negra Rubia in Madrid, an adaptation of Gabriela Cabezón Cámara’s novel directed by Emilia Dulom, presented within the Argentine Theatre Cycle at Umbral de Primavera. The production was later featured at the Argentine Theatre Meeting in Barcelona, held at Teatro L'Estranger.

The year 2023 marked a decisive moment in the consolidation of her artistic practice. As actress, director, and playwright, she premiered Artificio para atravesar la psicosis at the Sabatini Auditorium of the Museo Nacional Centro de Arte Reina Sofía. Conceived as both a lecture-performance and a site-specific performance unfolding throughout the museum, the work was developed from documents originating in Ezeiza Prison and investigated the relationships between archives, institutions, mental health, and violence. It was subsequently invited to the Tara Theatre Festival in the Canary Islands.

That same year, she was invited by IBERESCENA to participate as a creator in the 11th edition of Mexico’s Festival Subterráneo, where she premiered BZD hasta los huesos, a work created specifically for the festival.

She also took part in the Nutrientes residency at Teatro Pradillo, researching the staging of Romance de la Negra Rubia, a process that later led to the Madrid premiere of the work. In October, she was selected as one of four artists for the Dorothy Michaels Reading Residency, coordinated by María Jerez.

In June 2023, she assumed the creative direction of the Museo Reina Sofía’s Picnic event, designing its scenographic modules and coordinating performances developed in dialogue with the exhibition Maquinaciones. That same year, she performed in Las Cuerdas by Ana Schimelman at the Argentine Theatre Festival at Umbral de Primavera.

In 2022, she completed the Master’s Degree in Performance Practice and Visual Culture, jointly organized by the Museo Nacional Centro de Arte Reina Sofía and the University of Castilla–La Mancha. This programme strengthened her research into live arts, performance, and knowledge production through artistic practice.

That same year, she participated as a performer in The Castle of Crossed Destinies, an installation by Leonor Serrano Rivas presented at the Museo Reina Sofía. She also collaborated with Museo Situado in the design and artistic direction of the performance Stop Exclusión Sanitaria, presented as part of the Picnic programme.

Before relocating to Spain, she developed an extensive career within Argentina’s independent theatre scene, performing in productions such as Las Cuerdas by Ana Schimelman; Las Multitudes by Federico León; El Péndulo by Magdalena Yomha; Víspera de elecciones and Cinefilia by Aníbal Gulluni; Lo que se dice by Andrés Raiano; El Tilo by Agustín Maradei; Desde Vera 108 by Rubén Sabadini; and Zoom in 90s by Candelaria Sabagh.

She trained as an actress at the National University of the Arts (UNA), Department of Dramatic Arts, and furthered her education with Carlota Ferrer, Ricardo Bartís, Federico León, Alejandro Catalán, Guillermo Angeleli, Claudia Cantero, Alfredo Castro, and Lito Cruz.

She currently teaches acting workshops and performance creation laboratories at Umbral de Primavera, La Parcería, and the Centro de Arte Dos de Mayo (CA2M). Between 2020 and 2021, she served as Teaching Assistant in Directing Actors I and II (Costa Chair) at the Department of Visual Arts of the National University of the Arts, having previously worked as Assistant Lecturer in Acting I under Bernardo Cappa at the Department of Dramatic Arts.

Her artistic practice is situated at the intersection of live arts, performance research, and mental health, developing projects that combine theatre, performance, installation, and artistic research. Her work has been presented in theatres, museums, and festivals across Argentina, Spain, and Mexico, establishing a transdisciplinary practice that integrates creation, directing, performance, teaching, and research.