‘Simulacro’, a stage video game with open graves | Culture

In just over a month, on July 29, the new Kor’sia show entitled Simulacrum, That this Friday had its absolute premiere in Count Duque, it will have its international debut at the Piccolo Arsenale Theater within the 2025 dance program of the Venice Biennale, personally chosen by its artistic director, Wayne McGregor. Before, on July 17, in the Garnier Opera de Montecarlo, Mattia Russo and moving away from Rosa they will release with the dancers of the company of the Principality of Monaco a work of creation: Broniainspired by Bronislava Nijinska and commissioned by Jean-Christophe Maillot, director of the Ballets of Montecarlo. Febrile and intense activity that forces them to be squeezed both in creative and formal aspects. Russo and Rosa are already placed in the front line, with next Gothenburg stop in October (where they are being publicized as: “acclaimed Spanish duo recognized by their visionary creations”). Does it matter that they are Italians from the South (from Atripalda Avelino el First and Castellammare di Stabia the second) graduates of the Alla Scala Scala Theater in Milan? At all! We are where we are allowed to grow, Lucrecio said, one who was avianly ignored by his contemporaries, practically until the concealment.

Sometimes, dance shows arouse poets. When Ann Carson saw The Great Tamer, He wrote a long poem and sent it to the choreographer Dimitris Popeioannou; There began an exchange between poets (hence the title of this writing comes). Kor’sia could lift such passions and dialogue high beyond the recession pedestrian, they can be assimilated or tasted from their poetics, because they have it and defend it to a figurative video game and spinning endless in a roundabout. In Kor’sia they think and then there are choreographically. A I think, therefore I am Deconstructed with renovating viciousness and alevosía. There is no melindre or waste of time. We have a multitude of simulation examples, in the aesthetic, so we could compare this superb joint work, current aesthetic raptor. If you insist on the poetic and its accident it is because it is effective as a substituent to every narrative linear. In Simulacrum there is almost nothing; Seven young people roam on an alleged unique stimulus. The sound, free of charge, goes to its ball and roll (it does not always fulfill its mission, although in the final 15 minutes, it gets the pardon). The lights are almost always a dangerous enemy in these times, and here that of the foci makes faith of “me against the world.”

It is always good for choreography to enjoy and think! You don’t have to go vindictive, that is a cursilad one, you have to position yourself in pure and hard quality. Cunningham said that talking about dance was like nailing gelatin on the wall: a vain act. I do not believe it in the Kor’sia case, which apply to foster its peak so that the bridge is solid and can jump into it. We are also our words, whether poem or drill. Apply critical deconstruction in the choreographic – where you cannot deny there is still a post -structuralist perfume – deserves a residue analysis and all the attention. These magnificent or go or go, are in their drill loop; They are courted, challenged, discussed and absorbed in night. The pose fence on the roundabout grass does not have a commercial ad, but a fourth dimension that is crossed, and both is nourished and destroyed. The quartz spotlights in their robust hardness make us remember that there were better times. Degradation is not visible, it is breathed.

Culture and drill De Baudrillard has done almost as much damage as the Bible, he choks like a Pocho cross. It probably had its supervent moment, burning its own and others, driving the already impelled of cold philosophy. There are several choreographers who have embraced him as his cryptic recipe book (there is a definitive and specific trial of Baudrillard and the avant -garde choreography published by Thomas Heyd in 2000: Art of Body Among Simulacra) and the almost always theoretical sermonic theoreticals of performance cite it with religious devotion. Does Kor’sia de Baudrillard need? It is opinionable, as Forsythe went to Laban or Libeskind, as Baudouin and Gilpin (their proposals around the Koreutic deconstruction and the computer or virtual simulation of the dancer, their dance, their dance, are rabidly current more than 30 years after being stated).

When Forsythe premiered in 1996 Six Counter Points In Frankfurt’s opera (there is something here in Count Duque that vividly reminds me of that complex evening and are not steps or phrasing, but intentions), Baudrillard was already expressly summoned, accompanied by Derrida, Virilio and even a pinch of Deleuze. Already at that time, Roland Barthes also appears as a crutch and garrison of the most advanced creators. The simulation is in ballet from before romanticism and in Coppelia He had a roof. Simulation by artifact or conviction. Elisabeth Roudinesco said it, which has written very important things about simulation and simulation, and its sharp criteria – or interpretive – help, and it is pertinent to cite it if we face a strongly intellectualized borest Simulacrum of Kor’sia. It is an option, among others, to frame the product. The dance does not scarce, but truffle to recurring, is a corner to give prominence to the group.

It can be hypothes to that this creation group had a stable dance body to work with. This is a need for productive mechanics in the choreographic. Kor’sia has no artistic headquarters; His house is an email and a website, and these two artists are building to the rhythm of the stations and the taste will of the programmers. It is unvoyed to heroic stroke and that conditions the product. Linear The achievement of a style needs stability, resources, system. They are doing quite well, even if not everyone thinks the same and a sector of the Spanish contemporary dance see them as a potential enemy, as lucrecio anmulos. It does not succeed to see much tenderness in the asphalt of the roundabout and the complicity is roughly calculated to stay in anxious informality, such as the jelly. Dancing bodies can be essentially gelatin, not jelly.