Argentine choreographer Marina Otero blurs the boundaries between art and life in her latest work, Kill Me. In this striking performance, Nijinsky and Bach meet Miley Cyrus to lend body and voice to the complexities of midlife crisis, mental illness and the challenges of freelance artistic work. Large-scale dance scenes collide with radical humor and intimate confessions that stay with the audience long after the show ends.

At the beginning of a midlife crisis, Marina Otero begins filming herself and her life around the clock, making it publicly accessible. When she collapses one day as a result of this process, she is diagnosed with a mental illness. This deeply personal experience and Nijinsky's biography, which is characterised by severe schizophrenia, constitute the starting point for Otero's new semi-fictional stage work Kill Me.
To help her work through this, she summoned four dancers – each with experiences of mental illness – and an actor who embodies the legendary ballet dancer Vaslav Nijinsky. Between pop-cultural tropes, plastic pistols and boxing gloves, together they create a performance about the madness for love, filling the theatre with ecstatic energy and raw sincerity.

Kill Me is the third chapter of Otero’s lifelong project Remember to Live – a radical artistic commitment to creating performances about her own life until the day she dies.

In the first chapter, Fuck Me (2020), Marina sought revenge through the naked bodies of five ex-marines, all named Pablo. Two years later, in Love Me, she stood alone on stage confronting the violence within herself. Now, with Kill Me, she turns her attention to the limits of her own mental and physical endurance.

Marina Otero is an Argentine choreographer, director, and performer renowned for her autobiographical works. With radical honesty, she transforms the events of her life, her relationships, and her physical and emotional experiences into performances that challenge the boundaries between dance, performance art, and documentary theatre. Her productions have been presented at major festivals across Europe and Latin America, and Kill Me stands as one of the most powerful chapters yet in her ongoing artistic and personal self-examination.