2023-11-19 13:27:12
Under the specialized advice of David Ojedaadded to a series of experiences with people with some type of disability, the members of this Andalusian company have previewed a work that aims to make all audiences fall in love with it.
While it is true that this creation directed by Omar Meza is still in the process of adjustments and research, it is noted that these professionals have embarked on a search at a physical level and mental states, in order to Raúl Durán and María José Casado perform a work that tastes how one would dance/live from one or several specific limitations. Where there was a mix between hesitation and a movement that is still waiting to be developed, because behind all this is said sentence that says: “that which is not visible, does not exist”. Therefore, if one is due to a number of certain premises when performing a performance piece (and by extension, in our daily life), the totality of the possibilities will not be understood in all its complexity, much less will it be understood. It will be considered a mode as valid as what has been established as hegemonic.
It was enough to stop and observe carefully how these bodies manifested themselves, while realizing that we usually associate the word “limitation” as something that demobilizes, that suspends our potentialities… Not as that which configures material conditions so that our creativity comes out. And it is not that in what has been established as normative there is no room to expand borders, but I have a feeling that the above does not give rise to them being articulated with each other. And that is exactly when any exploration is perceived as a “jump into the void”, rather than a space in which to undertake deeper self-knowledge on a collective and individual level. As long as, if we “visit” other ways of being and being in the world, at the very least, our onto-epistemological precepts they will “wobble.” In parallel, the DA assemblies. TE Danza are usually characterized by being made with such great care, intelligence and affection, that although it is assumed that at the end of the assembly of You and I remain an “approximation” to everything that is being suggested in this preview, there will already have been one more precedent that will allow for works of performing arts that have at least one performer with a disability, to bring to light that these people are necessary in order to constitute a more inclusive society.
Photo: Carmen García Jara
To enhance all of the above, these two dancers “swayed” and crossed through some ropes that were arranged throughout the stage space. Sometimes they were a tool to “spice up” the interactions between the two characters, other times they served so that we, the viewers, could witness that people with disabilities deal with “barriers” that, sometimes, are ourselves. the same ones that we keep in operation. That is: in the discussion that took place after the performance, the members of FROM. TE Dance They told us that the fact that the ropes were blue was due to the fact that these “barriers” are not always perceptible to the naked eye. Thus, anyone who rushes to pass judgment on the matter is tempted to blame those who do not behave in accordance with what is expected from the normative model of a normative human being as “inadjusted”, “capricious”…. To which I would add, that it helped the steps of these two dancers to be projected throughout the space in a way in which the “paths” that make their way through an apparently scarce space are perceived.
Photo: Carmen García Jara
Along these lines, the lighting design by Atitor Palomo and original music Carmen García Jara were aligned to mark the parameters by which the world of You and I. Since the dramaturgy of this piece was at the service of its characters going through experiences of an initiatory nature, where they themselves had the opportunity to verify that the worst thing about the “barriers” is that they do not allow us to realize that my relationship with those next to me can be enriched if our experiences are shared. Of course there may be disagreements along the way, even some “mischief” towards the other…; However, I defend that one cannot become what one is, if not with the other, and vice versa.
Photo: Carmen García Jara
In You and I It is all so beautiful and possible, that it is very pleasant to see and, surely, to interpret. At the risk of being wrong, I think that You and I could be related to Natanam (work that also belongs to the repertoire of this company), in the sense that both put dance at the center to celebrate life. Likewise, I consider that the use given to the strings in this piece goes a couple of steps above that given to the salt in Natanamsince in the latter it is a resource that strengthens and supports what we are being told (in any case, Natanam without the presence of salt it would have remained “decaffeinated”), while in You and I The ropes act as the “orography” of the place in which their characters develop. When they are untied and thrown to the ground, it is a liberation. Not so much because the two characters can go wherever they want without a “barrier” that hinders them; but rather, because it becomes clear that when one dances, deep down, one is avoiding spaces inside and outside. And the consequences of this are what the public and theorists call dance.
#preview #Danza #warns #spectacular #moving #forming #ACHTUNG