2023-04-21 12:32:06
I am usually in favor of keeping in mind the content of the synopsis of the piece that I am seeing throughout its representation. Starting with that, who is going to be the best introduction to said piece, than its own author. And in the case of creations that use a contemporary code, even more: since the creator can allow himself to develop his work based on what is established in the internal logic of his piece, without having to “worry too much”, that it is fully understood.
Now, if we include in this “balance” that good dance, above all, is a suggestion, then, we are faced with the need to articulate the analysis of what we are seeing with its corresponding “sensory enjoyment” (to call it somehow). ) Does this imply that “sensory enjoyment” is something that is not inherently involved with the analysis of what we see? Perhaps on a formal scale we can find it useful to differentiate between the two. However, all analysis carries with it a complex dialogue between what the viewer is perceiving in situ, with what he has collected up to now from his personal experiences, his specialized training, etc. What I want to get to is that Aspid being one conscious or not interpreting the role of the spectator, calls you to make the decision to follow the thread of the “discourse” they make Vanesa Aibar and José Torres of which we have been “announced” in the synopsis; or on the contrary, one opts for leaving the semantic content of the piece in parentheses, while one gives oneself fully to everything that made it possible for the confluence of these two Andalusian professionals to be unleashed from there.
This was possible thanks to the fact that both of them had great skill and success, so that it seemed that the music of José Torres “was not heard” and that Vanesa Aibar’s dance “was not seen to evolve”. That is to say: The cohesion between them was such that, at least in my case, what I perceived was a “landscape” on which Vanesa Aibar and José Torres have been working together.. In such a way, that rather than going “forward” throughout the piece, they stuck to “filling in” all the spaces with their interpretation, within the framework that they themselves had proposed to occupy with Aspid.
Photo: Rafael Núñez Ollero
SIf a piece is composed where the harmony between dance and music is taken to the limit, then, we are dealing with something that “updates” the fact that one or more musicians play while there are one or more dancers. dancing accordingly: a format that has become more than a classic. But if we want to transcend the more “canonical” areas, it is worth asking to what extent a reproduction is being carried out in which its content has been diluted in order not to be accountable to said canon, or, really, it has been researched and tested so that the result of what is going to be exhibited on stage is what allows the work in play to flow by itself. Making it possible to say that interpretation is putting body, making present everything that the people involved have represented in their heads during creation.
Photo: Rafael Núñez Ollero
Of course Aspid it has been outstanding in this and more, and without even pretending to be “innovative” or revolutionizing the public’s sensitivity. Rather, it is a piece that has been worked so hard to exhaustion that I would dare to say that Vanesa Aibar and José Torres have come out much more mature professionally and personally during this process that we can call “Aspid”. And as if the above were not enough, they gave us images that went from the stylized and the elegant to the abstract and bizarre, giving relief and depth to everything they addressed (remember when both of them intermingled their bodies having as a link the guitar or another element to which they gave greater incidence, in several of the scenes of this piece). Really, how pleasant and hopeful it is that a piece that responds to a certain language, can act as an “ambassador” in the exercise of promoting dance and music as universalsalthough one feels a greater affinity to one tradition or another
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