2023-05-24 00:58:02
In Greek mythology, Europa She was a Phoenician princess who was kidnapped by Zeus, the father of the gods, transformed into a white bull. Ovid, Herodotus in Homeror, between writers, and Rembrandt, Titian, Picasso or Goyaamong the painters, addressed the myth of the kidnapping of Europe.
Now, two creators with different languages -the theater director Luis Luque and the choreographer Sharon Fridman- have come together to put it back on its feet in a dance show entitled ‘Europa’, which opens today, Wednesday, at the Naves del Español in Matadero, where it will be on the bill until June 4.
Anna Benedicte, Joan Ferré, Cristian González, Julia Kayser, Melania Olcina and Beatriz de Paz are the performers of this show, which features music by Luis Miguel Cobo. lighting sign her Philip Ramos and Sharon Fridman himself; stage space is Monica Boromello and the wardrobe of Raul Marina.
The creators of ‘Europa’ speak of a “stage poem based on a loss so deep that it can only be haunted” and of “a conceptual and minimalist show in which the different plastic and choreographic languages multiply, and where sound, movement and light work as clear poetic signs».
What Luque and Sharon Fridman tell is, says the first, a history of violence. «In the research process, we discovered the great metaphor that emanates from the myth of Europe: that of a woman abducted by a divine masculine power. That provided us with an imagery that resonated within us. We were interested in exploring kidnapping as a violent element on a woman and on a people. The show is not an explanation of the myth of Europe, but the myth is at the dramatic base of this plastic and choreographic journey».
Luque acknowledges that in the creative process he was tempted to introduce the word into the show, but that he finally decided that dance, music and light (these two elements play an extraordinary role in the show) they told the story without the need for anything else. «Dance uses other expressive resources».
The current deputy director of the Spanish Theater had never worked with choreographic language, to which he has had to translate dramaturgical language, which he does know. As a difference, he assures that in dance there has been «freed from justifications. In the text theater it has to be explained why a character enters from one side and why he walks towards the other, and not in dance; the subconscious speaks otherwise.
#Europe #dances #slaughterhouse