2023-06-24 18:47:48
He Zaragoza Museum once again gave up its interior patio for the representation of four wonderful works that make us realize that the twentieth edition of this festival belonging to the Red Acieloabierto.
LaCerda. Photo: Marta Ashtray – Mimöi
LACERDA. Catalonia
THE DANCE OF THE LEFT.
Choreography: Edward Tamayo Interpretation: Edward Tamayo, Johann Perez, Aina Wool, Valentina Azzati
I have always been a firm defender of the fact that having knowledge and mastery of the academic technique of dance gives us the necessary freedom to be able to tell what we want to tell. However, if this is not “danced” it is a mere “obedient reproduction” of our bodies: Something as if one had become alienated in the middle of a learning process, since one has come to confuse the means with the ends.
However, The left-handed dance It is a good example to understand that once you manage to move as you intend, it is when you begin to interpret and dance a real piece, and even more so, if it is your own creation. Thus, the members of this Catalan company were carrying out a tribute to the mere act of dancing: collectively, with steps typical of different genres… The fact is that they went so far with this work that, it’s hard not to love the dance after seeing it.
The members of LaCerda they occupied the entire space with small movements that drew vectors in different directions, or with group movements that shaped the air to their liking and enjoyment. On top of that, there was no way to predict what they would be about to do, so much so that it came to my mind that not even they had choreographed the entire piece. As if they had left everything to group listening and the hard collective work that all these professionals will have gone through as a team. Which leads me to affirm that the rigor and commitment to what is being done should not necessarily be associated with assuming “military” dynamics, at the moment that one has opted to represent what one wants to represent, summoning a group of performers to dance in unison.
It’s so well composed The left-handed dance that the repetitions of some of their choreographic phrases provided more information and depth to the content that they were transmitting to those of us who made up the public. That is how a purely formal piece is much more eloquent than those that opt for narrative-type formats. And far from underestimating the above, the point is that we must not forget that dance is an abstract discipline, and a vehicle capable of transcending the objects of study of semantics, and if you hurry me, also of semiotics. For this and much more, this work gives rise to multidisciplinary investigations. The left-handed dance it is an absolute delight!
Photo: Marta Ashtray – Mimöi
MARIA GANZARAIN. Aragon. (Premiere)
OPEN FIELD
Choreography and interpretation: María Ganzaraín
Preparing to dance means going through a sort of “ritual” that leaves our bodies available on a physical and mental level. All this goes beyond preventing injuries or being focused on what we have planned to materialize the session in question. Where I want to go, is that Open field It is a work in which María Ganzaraín represents us and recreates the different ways of entering bodily and mental states to dance. In which going through different emotions, movement qualities and other things like that, are the means for dance to take place.
I’m talking about one of those pieces in which one dares to explore inside, digging below his own entrails and imaginary of the world. Although it is true that many pieces that travel these paths end up being “exhibitionists” and pretentious. On the contrary, this professional based in Aragon has acted with truth and conviction. Therefore, I understand that this work should be read as a symptom of what is germinating inside a dancer and creator who will give something to talk about in the coming years.
Besides, Maria GanzarainDeep down, he did nothing more than “play” on stage, as if it were an improvisation into which one “throws” without seeking or avoiding anything, a sign of his generosity, openness and courage. Having said this, it is clear that Open field it is mounted to the millimeter, which leads me to think that few professionals of a certain age would undertake such projects. That is to say: a person who has become familiar with a handful of tools, but is still looking for herself, resorts to various strategies to know who she is and to know how she really dances.
In this line, the poem that he recited to us was nothing more than a set of reflections of what lives in each one of us human beings, but not to “detonate” them as these professionals did, well, one depends on luck to rediscover your full potential. María Ganzaraín already knows what is the route she has to take to continue being and being in the worldno longer waiting for death like someone sitting at a bus stop.
Photo: Marta Ashtray – Mimöi
ELIAS AGUIRRE. Madrid’s community
FLOWERHEADS
Choreography: Elías Aguirre Interpretation: Mario González, David Eusse, Elías Aguirre
Elías Aguirre and his team have immersed us in the confines of a jungle inhabited by a series of characters who, for one reason or another, we still had no news of their existence. Therefore, we have no choice but to resort to “equivalent” things generated by the human being, in his search to recognize himself through his particular representation of Nature. In my personal case, it has helped me to keep in mind the unique characters in the Studio Ghibli movies and those that are part of the Hollow Knight video game.
At the same time, I have related their movements to those that we can find in contemporary dance, physical theater or urban dance. What I want to get to with all this is that these professionals reached such a degree of extra everyday life that during the performance of Flowerheads, I had serious doubts that they were human beings. And despite the fact that everything was happening before our very eyes, it was difficult to decipher which characters Elías Aguirre, David Eusse and Mario González were playing, as well as what kind of relationship there was between them. Which translates into the fact that after the exhaustive investigation that only these professionals have gone through have access to that world that they have represented in Flowerheads, giving them room to continue delving in all directions. Without forgetting that in the music of Ed is Dead They found an ally so that everything is perfectly set, although no props were placed on stage, and we continue to have the same background as the other pieces that were programmed that June afternoon at the Zaragoza Museum.
Definitely, Flowerheads I find it a fun, intelligent, enigmatic and very mature piece of work. What more can you ask for from a piece of performing arts, to cross borders and broaden our knowledge and experiences?
CARLA SISTERÈ. Catalonia.
THE SAD – MAD METHOD
Choreography: Carla Sisterè Performers: Carla Sisterè and Ana Sagrera
As if it were a dramatized storyteller, Carla Sisteré and Ana Sagrera they took us by the hand through a story as baroque as it was crazy. Exactly what happens when the human condition is approached from the point of view of a clown: a philosopher who keeps one foot in the reality that we all share, and another tries to pose it on a bizarre plane in which, for example, it fits the possibility that oil is extracted from squeezing an apple. Of course, it is almost irrelevant if the clown “fails” during his learning that the oil does not come out of the apples, the key is how he deals with it, and of course, in what way, we the spectators, feel challenged .
Thus, the members of this Catalan company were able to make something credible that, in other contexts, would seem eccentric. And in that truth that was in each of his actions, what it means to be swinging in life was revealed, because nothing is stable and predictable. In this maelstrom, the roles played by these two professionals unfold, who found the key that unites all the training they carry with them in performing arts in a short piece. To this extent, The Sad- Mad Method It illustrates to those who still have pending accounts how beneficial it is to relate various codes and languages, so that the creations in which they embark are as consistent and complete as possible.
It was very exciting to feel that The Sad- Mad Method it could end in thousands of ways, and besides being sure that it could go on for hours. In fact, I defend that any subject that they introduced would have been useful to delve into the vulnerability that characterizes us so much, since behind all those tears, laughter that bordered on delirium or emboldening…, there was a person who is learning to be more upright and aware of his condition. Undoubtedly, studying philosophy, the natural sciences or the social sciences will furnish our heads with concepts and data, but this makes no sense when we do not get a translation that adapts to our daily lives, and that is exactly what it is about. learn to live; and of course, that’s what I read from The Sad- Mad Method.
For all this that I bring you closer and many more things, I do not hold back in sharing that it has been the job that I have laughed the most and fun so far in the 2022-2023 season. And if, in addition, one comes across interpreters who have a good time doing something with rigor, intelligence and running the risk of seeming like a couple of “mamarrachas”, well, they get a fan for life who would like to see this work at least about two more times.
#day #twentieth #edition #Trayectos #Festival #ended #pieces #creative #extraordinary