I know how to behave. Let's say, for example, that I go to the National Theatre of Catalonia. I know the tacitly choreographed protocol and I can follow it to the letter. I know which version of myself is welcome, which fits in and doesn't cause discomfort, I know which identity to perform to be read: a little dark but without overdoing it, a little flashy but without overdoing it, I have to be that note that gives a certain twist, a very slight one, to the general score. Everything else remains out of focus. No one has explicitly asked me, but I have understood that otherness has no place here.I have lived in this country for 22 years, I have level C in Catalan, almost one hundred percent of my affective network is Catalan, I have a Catalan son... but I am still perceived as a migrant person. They continue to speak to me in Spanish and congratulate me on my "nice" accent. But it's okay, I can manage that. The complex part comes on the professional level: my place, perennial, seems to be the margin. This place where the system places me does not come from personal exclusions perpetrated by individual agents, but is the structure. And, let it be said here, mea culpa, it is also an ambiguity that is not accidental, but a survival strategy.Somehow, this "being where I can be read" that I sometimes perform is what W.E.B. Du Bois defined as double consciousness. Migrant people always look at ourselves through the eyes of others, who, as a reading mass of acceptable alterities, are the ones who measure the value of our presence. We are looked at under a catalog of options ranging from curiosity to condescension. The splitting is, without a doubt, exhausting: it is me but it is also the version that the viewer needs to feel diverse without feeling questioned. I interpret my own identity.

Does the patriarchal context nullify or condition women's decision-making capacity? If so, how and why? Is this incapacity – if we accept it – inherent in all women, or are there differences? Where can we begin to set limits? How has fiction contributed to distorting the idea of consent? In this choral piece, six commentators explore the (im)possibility or difficulty of women saying no and the open cracks through which we can operate to reverse this inequality.