The premiere of Geometry Of The Experience by Natalia Jiménez Gallardo opens debates that will make us all grow – | ACHTUNG!

2023-11-12 20:34:43

The percussionist Lucia Martinez He was in charge of giving the feet and directing the rhythm of a work in which there were three dancers. Professionals who, although their interpretation was not limited in any way, danced within a block that spread throughout the entire stage space.

So, Natalia Jiménez Gallardo, Víctor Zambrana and Anna Katalin Nemeth They constituted a kind of “jelly” that changed shape, in line with how the external and internal phenomena they dealt with affected them. “Gelatina” that was never dismantled, regardless of whether there were solos or duets throughout the development of the performance. Which testifies that if one of the performers, let’s say, is located on the side of the stage, this does not imply that he is disconnected from the group. At the very least, his role accentuates the work that lighting design plays.

However, Geometry of experience It is a work that set out to address the instability that is ontologically related to the present. Since, in the end, the present lives in the apparent paradox, that it is the temporal parameter in which we are always (the second past has already passed, we have not yet reached the next second), and at the same time it is where everything “collides” to cause the inertia in which we are imbued to change direction or translation. There is that stillness or dynamism are nothing more than two states of a cycle that we need to analyze and inhabit from these premises so that we, human beings, can identify it. Something that, by the way, was perceived as a metaphor in each of the actions of these four professionals.

Photo: Felipe Rodríguez

Therefore, in Geometry of experience It was possible for them to “get stuck” in a movement of their “group jelly” (if I may use the expression), or, that they have been forced to “err” on stage until the last of their days. Consequently, images emerged that went from everyday situations (like someone playing to associate the shapes of clouds with animals and other things like that) to indecipherable figures that, in one way or another, confirmed those of us who have joined the public. that, we were facing a psychedelic experience. On the other hand, at times, the sound environment was indigestible, at others melodious…, this prevented Natalia Jiménez Gallardo, Víctor Zambrana and Anna Katalin Nemeth from “acclimatizing”, keeping them alert to any new foot of Lucía Martínez.

Having said the above, I believe that these professionals should still delve deeper into the elaboration of the structure of this piece, because during its performance, I kept wondering how to distinguish his dramaturgy from a series of predetermined guidelines of a very advanced improvisation session.. That is: no matter how abstract the content of a contemporary scenic creation may be, there must be a moment when one uproots oneself from the research devices from which one has been nourished. Otherwise, the piece will not advance, or in the worst case, it will remain encapsulated in the idiosyncrasies of the community that the professionals behind it have built, obstructing the game work from being something worth sharing before the public. a public.

Photo: Felipe Rodríguez

In parallel, the execution of the dancers’ movements, added to the connection between them and the music, are evidence that countless hours of work have been put into landing what they had previously set as their purpose: They gave so much deployment, I have no doubt that they have started something that could be very big in every sense. Here I recognize that, although I had certain disagreements with the final result of this premiere, it is a fact that Most of the audience was dazzled and I feel lucky to have observed three spectacular dancers on stage up close.. Along these lines, I hope that this text contributes to the professionals who attend the exhibition of this project: performers, creators, programmers, etc., to be able to reflect more seriously on where to set the limits of a scenic research creation, of other things. The key is to raise the level, not that we all agree on everything.