Origin of Marco Vargas and Chloé Brûlé and the art of cultivating great memories – | ACHTUNG!

2023-05-27 13:29:24

Origen It is a work that extols the moments of conviviality and celebrations. It is even irrelevant if it is about celebrating the New Year or harvesting the harvest, here there is room for moments of recreation and, what a good friend calls, “cultivating memories”.

Even so, they have had the honesty to make visible discussions or contexts of self-absorption. Because in the end, as a quality stage work, it is about reflecting and reflecting on our human condition, not to recreate an advertisement for “a brand of nougat for the Christmas campaign” to leave a good taste in the mouths of those who are part of the public. Which gave the content of this piece greater depth and credibility, dignifying the sense and meaning of celebrating whoever you have met. Thus, everything that happened at the collective and individual level was understood as an offering to be together, not as an imitation of a ritual whose value of updating what prompted its foundation has been diluted. For this reason, among other things, I believe that Marco Vargas and Chloe Brûlé They decided to start this piece from silence, rest and awareness of how they were at that precise moment.

Photo: Francisco Reina

The solvency that each act acquires is fascinating if one takes the time to develop it, not mechanize it; and if it happens that something more or less similar to the previous time comes out, this is a sign that its “nectar” has been absorbed. Precisely, Origen sublimate the above. For example: I would affirm that the solos of Carmen Muñoz they had one foot in the basic values ​​of the scenic disciplines to which it is due, and another in experimentation from the depths of their bowels. It does not matter how she or we, the spectators, have read her movements (that is to say: if they are more associable to flamenco dance, contemporary dance or whatever), where we have to focus is that in that “here and now” she was really in. Likewise, she had the generosity and courage with us the spectators and with herself, to inhabit it until the last consequences of it.

Marco Vargas and Chloe Brûlé They expanded so much on their duet that they reached a point where only their emotions and impulses remained. That is to say: you know those moments in which one digs under our own feet in an unbridled way that, we would have to take a huge detour to return to the starting point. Well, in this duo it was no longer possible to try to decipher how the interpersonal relationship between them was evolving and what the dialogue they were having was about, because these professionals had already reached another dimension. But, fortunately, they knew how to keep it in the same lane during its development, as if they had hit the key to “invoke” on stage the best of what they will have extracted from the research and editing sessions of Origen. This is one of those things that distinguishes those who know how to improvise from the great creators of the stage.

Photo: Francisco Reina

Or what to say about the introduction of the threesome between Chloé Brûlé, Carmen Muñoz and Yinka Esi GravesWell, it is not only that these professionals knew how to measure time well enough for them to Origen it will not end up being a predictable work and in permanent apogee; but actually, they gave us choreographic moments in which the stylized and elegant brought out the large number of layers that make up this piece. As far as I am concerned, this trio was very exciting and almost a breather after the contrasts between the solos and the joint choreography on the table between these professionals. Thus, it is how one way or another one could conclude that everything that had been put into play and what would be coming out, was measured with organization and precision.

the guitar of michael vargas and of Raul Cantizano alongside fireproof lighting design Benito Jimenez and the brutal stage presence of manolo marin, they deployed the ideal framework so that everything I have highlighted and more rises so high that, honestly, it is hard for me to imagine that Origen it is a work that has been staged and rehearsed, not something that could only be witnessed once in a lifetime. I’m talking about those things that all scenic creations should aspire to, to assert themselves as a work of art.