This third Jordanian event closed with the performance of two of the four pieces by Andalusian creators selected by the organization of the Escena Mobile Festival in complicity with the PAD Association (Andalusian Association of Dance Professionals).
Vestige – Inc. Dan Zass (Madrid-Spain) Choreography: María Mellado Performers: Anaïs Vinuesa and Cristina Arauzo
What we collect throughout our lives through what we read, our interpersonal relationships, and by extension, our reflections. There are several things that guide us regarding the field in which we have developed so far. Since our way of being and interacting with the world has been so conditioned, saying that we are free is, inherently, involved with our ability to maneuvermore than “doing whatever we want.”
Along the way we will find allies, guides, people with whom, in some other way, there will be a power relationship, etc.… The fact is that Vestige He introduces us to a plane so introspective that it reaches a point that becomes indecipherable for the average viewer, but this does not imply that the images and the way in which the words of his monologue are emitted do not transport us to a place where We see ourselves in a mirror.
The cohesion and twinning that exists Anaïs Vinuesa and Cristina Arauzo It gives strength and credibility to an extremely mysterious piece. Of course, its aesthetics and dreamlike atmosphere were part of a magnetism in which seeing it with the sole intention of contemplating it as if one were in front of a landscape, is presented as sufficient for enjoyment. My intuition tells me that seeing this creation just once does not capture its full depth, although this does not prevent it from achieving part of the objectives that these professionals have previously set.
This piece of Inc. Dan Zass It is something similar to one of many experiences that we have had in life and that, for one reason or another, we were not completely prepared to get the most out of it. Seriously, how many things go unnoticed, how many paths we have not chosen to travel due to ignorance…
PROMÊNA (TRANSFORMATION) – Jaume & Iris (Barcelona-España) Choreography and interpretation: Jaume Girbau and Iris González
One of the values behind the parts that are programmed in the Escena Mobile Festival, is that it is evident that dance is present beyond areas that we have arbitrarily delimited, such as those of “dancing.” In case there is any doubt, I am not trying to discredit works that would be classified as “conventional”, “academic” and other things of that nature. Rather, to expand what is included within what we understand by dance. This is: PROMÊNA (TRANSFORMATION) It is a work that took us by the hand through a series of “corridors”, which seems that the process of assimilation that was taking place within us, the spectators, could also be translated as a dance. And that is precisely one of the things that every scenic work should aspire to when carrying out its corresponding representation.
The characters/roles they played Jaume Girbau and Iris González They mutated in all dimensions throughout their respective developments. To the point of disarming us, as long as an expectation was generated that kept us attentive to what they were telling us. That is to say: this work could have lasted five minutes less or half an hour more. And just as they moved through space, they uttered some words… Raising the concept of transformation to full materialization. The rest were the vehicles that they considered most effective for the transmission of their message.
essay about nobody – Inc. La Tulpa (Seville-Spain)/ Premiere
Choreography: Manuel Monró
Interpretation: Susana Villegas and Manuel Monró.
Finding myself with jobs like essay about nobody, is what reaffirms me in the idea that “dancing” a topic that occupies and worries us, gives rise to making philosophy and poetry out of it. And although one in the process may not yet come up with the most satisfactory answers in this regard, the fact is that the less one gets out of a state of “stuckness”.
Susana Villegas and Manuel Monró They immersed us, the spectators, in a plane in which verb and rationality have become obsolete so that its inhabitants can express themselves in each of the situations that they go through throughout the piece. And if we find a sign of this, it is because we are trying, by default, to translate something that only responds to its internal logic. Since they move through space and interact with each other, without major pretensions. Which means that we pay our attention (even if it is out of respect) to how they are and how they face their reality. Since not only them must be granted a “turn to speak” at some point; but also, because having the privilege of seeing something from “another world” feeling that we, the spectators, are safe by staying on our own plane sitting in the stalls, encourages us to limit ourselves to observing.
Of course, the synopsis of this piece refers us to issues specific to mental health and “dissidence” (in every sense). However, these Andalusian professionals did not present the above to us in the format of a “political pamphlet”, but rather through something that does not require explanations. For this reason, perhaps their aesthetics can be sinister, but in reality these beings are harmless.
Honestly, something like the ones I’m telling you about cannot be achieved without its performers and its director having done a deep work of scenic research. In which the breakdown of the material obtained during his explorations was translated into simple and precise movements, endowed with a consistency and quality that accredit this work as one of the most spectacular and complete of this sixteenth edition of the Escena Mobile Festival.
Encounters – Denis Santacana (Bilbao-Spain) Direction: Denis Santacana Interpretation and choreography: Denis Santacana and Víctor Fernández
At the risk of sounding unfriendly, during this pass of Encounters His performers were so involved in what they had to do at any given moment, that it felt like they were not performing in front of an audience. Of course, there must be a certain distance when one decides to adopt what is called the “fourth wall.” However, the interpretation of these two professionals seemed diffuse to me. A feeling that was accentuated as soon as he witnessed that the technical skills (in terms of correct execution of his movements) were evident. Or put another way: what I saw on stage was a rehearsal, not a performance.
So, how should we differentiate a performance from a rehearsal? In that the spectators must be made to feel like participants in what is happening on stage, without this necessarily implying that they become “characters” of the play. Something as if they were one more “variable” so that the interpretation of the interpreters at play modulates at the same time that “what is planned” is crystallizing. I am not the first to say thatonce one knows the work and the role one is going to play, that is when interpretation and inhabiting the work begins.. The rest is part of the process of familiarizing yourself as an interpreter, or even of “marking it.”
Given this situation, I didn’t get the things that would differentiate this work from others that addressed a similar topic. All the while I wondered how aware these professionals were that this could happen to at least one of their viewers. So, where is the border between one as a spectator not behaving as a “passive being”, with one trying to “save” something that has been worked on and chosen with a team of stage professionals? For now, I will continue reflecting on this issueand hopefully this will help me be more precise when it comes to coming up with a more definitive conclusion about this creation.
The beautiful conversation of hands – Alvaro Silva (Cádiz-Spain) / Premiere Choreography: Álvaro Silva Performance: Álvaro Silva and Helliot Baeza
It is enough to have seen Helliot Baeza perform in pieces by the Andalusian company Mobile Dance, to realize the leap that has been made with the work of direction, creation and interpretation of Álvaro Silva. Well, proposing such a complex piece in listening, of energy containment, concentration, etc…, means asking Helliot Baeza to leave his “habits” in parentheses (however interesting many of them may be) in exchange for undertaking a project that, let’s say, “taught him how to dance again.” Which, among things, implies that in the medium and long term we will find ourselves with a more complete dancer.
Therefore, carrying out hard work and with ideas as clear as the one you have exercised Alvaro Silva con Helliot BaezaSooner or later, you will see results that reward the efforts invested. In any case, sufficient maturity and temperance is required to move forward in a company in which they are not quantifiable and with guarantees of lasting over time, when talking about disciplines such as contemporary dance. That is: without a doubt, the “seed” that Álvaro Silva left in Helliot Baeza continues in a state of gestation, and of not being cared for and fertilized; This will remain a beautiful memory that to be recovered, one would have to embark on a kind of “archaeological” type of exploration.
I start from the assumption that it is very easy and tempting for one to return to one’s “habits” after a time of such an immersive project. And that is where the Danza Mobile team of professionals must intervene so that Helliot Baeza knows how to preserve and continue developing what he has collected with Álvaro Silva and other stage professionals with whom he has worked recently, such as Antonio Álamo or Lucía Bocanegra. Of course, Helliot Baeza’s will to achieve a better version of himself will be decisive. Here is one of the fruits of this small project that those in charge of organizing the Escena Mobile Festival have been developing in complicity with the PAD Association, in which an Andalusian choreographer performs a duet with a dancer with some type of disability. Initiative that has benefited to the extent of giving dancers said group the opportunity to deepen their training and experience in performing arts with someone they have not worked with until now, as well as promoting the capabilities of Andalusian choreographers to be with people of groups that, if certain means are not provided, it would be testimonial that they will embark on such projects. This reality should not be a reason for discouragement, since, with initiatives like this, everything that remains to be done is made visible, at the same time, solid results are collected to be taken as precedents.
What concerns to The beautiful conversation of hands, I would point out that it is a piece directed with impeccable timing, since, basically, it consisted of making a dialogue emerge between the bodies of these two Andalusian professionals through types of dance, in which both are holding hands in front of forehead. The counterpoints that they introduced to their dance were those that reinforced greater content and “humanity” (for lack of a better expression) to a work full of symbolism and tributes to the mere fact of dancing as a couple.
The changes in lighting and sound environments transported us, the spectators, to distant places from the Alameda Theater, and even a few years ago from 2023. Of course, Álvaro Silva and Helliot Baeza synthesized all these things that I mention, in something that is called to grow to the sky. As long as the programmers trust in the enormous potential of this small project.
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