On the National Dance Company and the National Ballet of Spain, which are the two public companies that we have around the art of movement, the magnifying magnifying ones usually perch with more increase. They are still public and representative. And for the questions of how one and the other should be, what to expect from them and how they should work, there are as many answers as opinions.
Last night, the expectations flew over the Red Sala de los Teatros del Canal and deposited their great load in two names: the National Dance Company (CND) and Muriel Romero, director of this group since September 1. The first large premiere of the state company had taken place since Romero got to the front. The great change of course was expected that the new person has been advancing and that goes through more opening and avant -garde. And in general, the night was served both one thing and the other.
#Inbatio round about the work For 12 dancers who have been seen within the 40 Madrid International Festival in Danza, he rests on a speech as sophisticated as his name. It is a technique, that of incubation; that Parmenides practiced in classical Greece to achieve states of consciousness and unconscious flow. A kind of hypnotic trip to the healing and involuntary creativity that Romero and the musician Pablo Palacio move to the present (with very captivating futuristic dyes to what Black Mirror) and with which they propose a disconnection of those infinite stimuli that surround us.
In this sense, the intention of leading a whole theater towards joint reverie and a certain hypnosis, through a dance work, is a very powerful idea from the scenic point of view. That collective unconscious that Carl Jung spoke, which also plans on the show, located between the walls of a great theater, has a lot of poetic and even anti -capitalist. For the feat, the proposal uses a complex technology that translates dance into sound, light and images. And here appears another interesting idea: that of the dancers’ body first, as a generator of everything else; That is, investing that maxim of the most classic concept of dance creation that says that music first goes and then the movement.
The action of incubation It takes place in two meters per two in the central part of the stage. In this small space, the two protagonists, the dancers Gaizka Morales and Shlomi Shlomo Miara, in the role of iatromontis and mystone, respectively, contain the narrative weight of the work in a voluptuous and precise way. Especially Miara plays an outstanding interpretation in the nothing -easy -to -down role and displays a very lyrical physicality. But there is also one of the fragilities of the work: the choreography of the remaining 10 interpreters, which form a kind of Greek choir of the future, does not end up combining at certain times and the force is diluted in the coral. After the first half hour, when the choir is released from the white robes and stays in the red (along with the black they are the three colors on which the assembly is articulated, providing an aesthetic of great strength and elegance) the dance of duos and trios is missing for the show that the company could have played in this part. In fact, in the first version of this show, released in December at the University of Navarra (MUN) Museum, the interpreters were only two. The sum up to 12 in this review that has been made for the CND is not always pertinent.
The 3D images that recreate some of Carl Jung’s archetypes and interactive sounding, are amazing at various times and get the scenic feat, nothing easy, to assemble solidly with lights (absolutely fabulous) and interpreters. And the most fervent lack of action in the choreographic (which does not mean that there is no dance), does not prevent the enjoyment of this global scenic dispensed in which the body (away from the exhibition) remains the protagonist.
There will be those who think that the CND is not the place to release a montage like this, so risky in a few aspects. And there will be those who argue that, precisely because of this, it is the right site. In any case, the proposal with a dance and aesthetic installation format of the Young Pope Paolo Sorrentino contains more successes than weaknesses and is presented as a whole sensory experience, around a complex and solid show.