2023-04-30 16:05:49
A few years ago the museums of the city of Malaga They lend themselves to carry out performances and other activities related to dance, inside their facilities. Something that has favored the students of the conservatories of said city, emerging dancers and consolidated professionals to expand their intervention spaces to revitalize the cultural fabric of this Andalusian capital; and of course, to have more opportunities to show their work beyond the theater schedules.
Therefore, it was most intuitive that the Center Pompidou from Malaga has joined in offering a special activity to celebrate the International Dance Day. On this occasion, it consisted of a small pedagogical workshop for people who have at least some notions in dance, and the premiere of the first circle of Gero Dominguez and Nuria Estebanez. However, one of several of the purposes of this workshop is for its participants to approach the tools and structure of this piece, as a way of understanding and “incarnating” various models of stage composition; leave their own “idiosyncrasies” of their respective training centers; etc
In the end, the participants of this pedagogical workshop ended up acting right after the representation of The First Circle. Showing that although it is relatively difficult for one as a student to reach the next step in which one is, at the same time the fruits of everything one has traveled up to that moment come to light. behold that this pedagogical workshop has done nothing more than “detonate” the fact that its participants are witnesses and protagonists of the fact that they have not stopped maturing; as also, that they have been working on it in a classical dance bar (for example) it has always been an investment.
Photo: Micky Dominguez
Therefore, all that remains for me is to show my respects to this group of young dancers who, in a few hours on the morning of the day of their performance, managed to make their audience enjoy themselves, while they had the courage and the “adventurous spirit” to let themselves surprise themselves what they were really capable of. This is one of many paths of how, precisely, a dance student is endowed with meaning and meaning to balance respect for continuous and disciplined work during their training, with allowing themselves to enjoy what they have dedicated so much to. time and efforts. Or put another way, If you continue to give rise to this type of activity, you will be fostering a love of dance on the part of your own students..
Regarding the representation of the first circle on the part of Gero Domínguez and Nuria Estébanez, it is fair to say that far from questioning that The Divine Comedy has not been present in it (as is well contemplated in the synopsis), I would like to focus on what the public has access to, is what has been triggered throughout the process through which the piece in play has gone . Which opens a vast field of interpretations among its viewers. In this line, what has come to me from The First Circle, which is a piece that is composed of a structure capable of organizing space, movement and the relationship that its performers have on stage. Now, each part of the cycle that they represent to us is so well articulated that differentiating each “phase of the cycle” would only be a formal exercise that would contribute to the analysis of the first circle. Or put another way: the first circle has managed to reproduce how Nature manifests itself, regardless of the fact that we human beings have spent many centuries developing what we call “natural sciences”.
Photo: Micky Dominguez
It is fascinating how the bodies of these two professionals entered into a dialogue, in which talking about uniting the contemporary dance of Nuria Estébanez and the flamenco of Gero Domínguez is nothing more than staying in an “anteroom” of what was seen in The First Circle. This is: It shows that both have been familiarizing themselves with each other’s bodies for a long time. And despite the fact that the guidelines that constitute this piece will have been defined relatively quickly, they had the respect for your viewers not to stay in that of: “we are professionals, it is not necessary to rehearse so much: it will work”.
Basically, this type of “scam” sends the message that with technique and a bit of picaresque, anyone can compose a scenic piece. And it is not like that. When one is dealing with a purely formal work (as is the case with the final result of this piece), special attention must be paid to its correct execution, otherwise it will seem that what one is exposing to his audience is “how well it is improvised.” ”. It is not that an improvisation pattern located in a certain place in a piece does not fit, it is more to claim that, everything must be justified within the dramaturgy of a piece.
Another of the elements that structured each “phase of this cycle” was the music of Rafael Torres, whose enveloping character was what consummated its alliance with the joint movement of Gero Domínguez and Nuria Estébanez, to give rise to thinking that this piece could last thirty more minutes, following the same internal logic that sustains it: I love it when the music helps us to better understand a piece! Thus, it gave the feeling that what was happening on stage was happening “here and now”, it was not staged beforehand. Undoubtedly, it is one of several things that I believe all stage professionals should aspire to, given the ephemeral nature of their disciplines.
In parallel, this piece was arranged to be seen from any point of the circle that exceeds its scenic space. This means that the confluence between Gero Domínguez and Nuria Estébanez is endowed with movements that project reliefs into space whose depth is identifiable by the play of light and shadow embodied in their own bodies. Applying, in one way or another, what distinguishes the work of the Aragonese sculptor Pablo Gargallo, who with the exhaustively calculated “voids” of his sculptures, an optical effect emerges, which we, the viewers, read as the work in question being projected into its own nucleus. Talking about The First Circle, this applies to how the bodies of these performers draw expansion and contraction, oblique, horizontal and vertical movements. And of course, together with the changes in rhythm, we find ourselves before a dance that would have little to envy to the development of the fire of a bonfire.
Definitely, the first circle It seems to me a spectacular and exquisite work: Something that seduces you both intellectually and sensorially. I can’t imagine how far these two professionals would go if they undertook the project of making a long version of this piece.
#Circle #Gero #Domínguez #Nuria #Estébanez #recreates #beauty #complexity #bonfire