2023-12-03 22:26:34
Antonio Ruz It has given rise to a work that is transformed and is transformed as soon as it is going to be performed. Of course, its foundations and backbone always remain intact, with the idea that it does not become a kind of “scheduled advanced improvisation session”, but rather a stage act made for an audience.
As soon as one begins to investigate the history of this project, one realizes that it has had various translations that, among other things, have allowed it to evolve to a level where it is no longer reproduced. Recreo.03, but rather a living being is “awakened” again. That said, for this performance, Antonio Ruz and a team of professionals from his company spent four days preparing a group of fifth and sixth grade students specializing in contemporary dance. Luis del Río Professional Dance Conservatory (Córdoba), so that they can finish forming the cast of this function. Which is essential for them to get an idea of where professional creations are going, and that there are other ways of understanding dance beyond the strictly academic/conventional.
Above all, because any student in that phase of their training needs to go through a series of experiences that prompt them to ask questions that, either there is no time or there are no resources to address them with all their consequences, during their stay in formal training. . Here I would like to point out this example so that the programming of Spanish professional conservatories aspire for more, trusting that their students will know how to react to contexts in which they must be decisive and versatile. Of course, at this point, they still have a lot to work on in a classical dance bar, continue searching for their own movement in the exercise of interpreting the choreographies that their teachers set for them or, of course, in improvisation classes. However, if one as a student is not a witness and protagonist of this type of initiatives, one is tempted to believe that to dance it is enough to be a good “performer of a rehearsal room with a mirror.”
Photo: marcosGpunto
Of course, it was clear to distinguish who the students were from the professionals in the cast of dancers. But still, I found it fascinating how The students at the Córdoba conservatory managed to camouflage themselves, to “take the floor”…, among top-level professionals. In short, things that, in one way or another, give signs that what they have overcome so far in their training can be transferred to areas in which there is room to give meaning and significance to their respective journeys, in practice. of a discipline where it usually takes a long time for what one has invested so much time, desire and effort to emerge.
Back to Recreo.03 of this Andalusian professional, it is worth dwelling on the fact that it is difficult to decipher (as a viewer) what is specific to the “original work”, what he was incorporating/adapting for this function. This surrounded everything that was done on stage in an aura of mystery, despite the fact that, basically, no one in the audience knew about the play beforehand. Thus, this work is emerging as a reference to consult, when investigating how to make members of the public feel like people who are attending a unique and unrepeatable event.
Likewise, the dancers appropriated a somewhat irregular space, which presented them with the challenge of dancing while being seen from the most disparate places. I suppose that was one of the reasons why they all carried out keeping in mind that there was not a single front and, consequently, Recreo.03 It had to be viewed in three dimensions. Making it possible for anything that happened at any point in the stage space to take on some kind of importance. That is to say: it did not matter whether who gave the start to each scene or those who acquired a certain prominence came from one of the professionals of Antonio Ruz’s company, because what was being represented was a group of individuals facing an immense space from their corresponding experiences and points of view. Being within a group of individuals who perceived themselves as such, insofar as they were indissoluble members of a collective, and in turn the collective was what it was, thanks to the fact that it was constituted by the union of those who made it up.
Photo: Maria Alperi
Therefore, I consider that Recreo.03 It is a work that makes it easier for us, the spectators, to ask ourselves things like: What makes a dance group understood as such? To what extent does the “black box” design limit creators, performers, lighting designers, etc. when it comes to telling a specific thing through a performance work? Is it the stage space that alters the work, or is it the work that alters the stage space? Be that as it may, it seems that Recreo.03 It insinuates to us that all the responses we have come up with (in the field of direction, interpretation, lighting design, etc.) are at least provisional, and may even be intended to satisfy very specific demands.
For this and many more things, Recreo.03 It is one of the few works that have made me stop analyzing in situ during viewing. Starting because everything was so beautiful, delicate and elegant, that it seemed like a waste not to clear my mind to enjoy something that had left me enthralled from the first minute. Since I think that Recreo.03 It approaches topics that involve the human condition from a perspective more comparable with philosophy than with literature..
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