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Early on in the Argentinean film “El Último Traje” (The Last Suit), which makes its U.S. theatrical debut this week, a deceptively quaint and humorous scene takes place between the film’s protagonist, 88-year-old Abraham Bursztein and his young granddaughter. The little girl refuses to join in a family photo with Abraham surrounded by his many grandchildren. When he cajoles and insists, ..

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El ballet contemporáneo es hombre: BalletBoyz y Cie Hervé Koubi conquistan Florida

Photo: Foto: Los bailarines de Cie. Hervé Koubi en What the Day Owes to the Night. Fotógrafo: Hayim Heron (cortesía de Jacob’s Pillow Dance)
Written by: Orlando Taquechel
Article Rating

La ofensiva espontánea protagonizada por BalletBoyz y Cie. Herve Koubi el fin de semana pasado en teatros de Fort Laudedarle y Miami, con dos propuestas artísticas absolutamente fuera de serie, tomópor sorpresa al sur de la Florida y la conquista fue inevitable, inmediata y absoluta.

La disponibilidad inagotable de talento femenino y el estigma asociado con la participación del hombre en la danza han hecho del ballet un hecho escénico mayormente construido alrededor de la mujer y es bastante inusual tener la oportunidad de recibir la vista de dos reconocidas agrupaciones integradas exclusivamente por hombres.

BalletBoyz, que vimos el jueves 8 de febrero en el Amaturo Theater del Broward Center for the Performing Arts y se presentó el sábado 10 a las 8 PM en el South Miami Dade Cultural Arts Center (SMDCAC), es una compañía inglesa. Cie. Herve Koubi, que ese mismo día y hora ofreció su única función en el Olympia Theater en downtown Miami, es franco-argelina.

Ambas son pequeñas en número (10 bailarines BalletBoyz, Cie. Herve Koubi tiene 12) pero grandes en logros artísticos y saben armonizar de manera espléndida ballet, danza moderna y teatro con recursos extraídos de otras técnicas y estilos.

Las dos agrupaciones emprendieron la seducción de los espectadores floridanos con programas que han representado muchas veces y con piezas que ya tienen dominadas a la perfección: BalletBoyztrajo Serpent/Fallen (en español, Serpiente / Caída) y Cie. Herve Koubipresentó What the Day Owes to the Night (en español, Lo que el Día le Debe a la Noche).

Serpent y Fallen son los títulos de las dos obras que integran el programa de BalletBoyz.

La coreografía de Serpent es de Liam Scarlett, un creador conocido en Miami por su colaboración con el Miami City Ballet, y tiene música del compositor posminimalista anglo-alemán Max Richter.

Serpent es una obra de grupo sin argumento donde Scarlett se regodea con los cuerpos apolíneos de bailarines que parecen estar desnudos (solo visten mallas color piel). Lo que al inicio parece ser un ejercicio exploratorio del control expresivo (trabajo de pareja incluido) se define poco a poco como una oda a la confianza mutua. Los intérpretes (todos magníficos) interactúan con fluidez admirable y se entregan por completo a un virtuosismo ingrávido que deslumbra y desarma a los espectadores.

Fallen es una propuesta aún mas impoluta que Serpent y tiene coreografía de Russell Maliphant con música del francés Armand Amar. Los cuerpos que caen (definitivamente, la confianza en el compañero es una constante en BalletBoyz) son el leit motiv de esta obra también sin argumento que parece sugerir la representación de un rito. La ingravidez sigue estando ahí pero ahora viene enriquecida por una manipulación del “tempo” que afecta la textura de cada frase compartida por los ejecutantes y que Malliphant utiliza para sugerir otras muchas cosas.

Una realización inmejorable y la integración orgánica de soluciones propias de la improvisación de contacto y la Capoeira (una forma de arte marcial afro-brasileño) hacen de Fallen un espectáculo que conmueve, entusiasma y hace levantar de sus asientos a los espectadores.

Tanto Serpent como Fallen se benefician enormemente con el diseño de iluminación de Michael Hulls, un artista que es más gestor mágico que iluminador. Las sensaciones que producen las luces de Hulls son inenarrables. Baste decir que una vez que usted ha estado en contacto con la obra de Hulls ya no podrá evitar utilizar la experiencia como referencia al juzgar el trabajo de otros.

Llegamos así a la tan esperada presentación de Cie. Hervé Koubi.

What the Day Owes to the Night es una puesta en escena que dura un poco más de una hora, cuenta con coreografía del propio Koubi y utiliza un mundo sonoro que combina canciones sufí con la música de Bach, Maxime Bodson y de Hamza El Din con el Kronos Quartet. Las luces (precisas, dramáticas) son de Lionel Buzonie y el vestuario (torsos desnudos, pantalones blancos con faldas cortadas y delantales) es de Guillaume Gabriel.

Los asombrosos bailarines/atletas o atletas/bailarines de Cie. Hervé Koubi pasan sin dificultad alguna del alarde acrobático individual (saltando, girando sin parar de cabeza o apoyándose en un brazo) a la intimidad compartida (apenas tocando el vestuario de un compañero, caminando tomados de las manos) pero nunca involucran realmente al público (hay secuencias completas actuadas de espaldas a proscenio). Así las cosas, el espectador se siente como un observador lejano en el medio del desierto y con acceso visual limitado a una experiencia mística que no le pertenece. La Capoeira también aparece aquí como manifestación lúdica.

Por último, la atención de Koubi a la ubicación oportuna de los desplazamientos y la composición de las escenas grupales contribuyen a hacer de What the Day Owes to the Night un montaje que se mueve y fluye con una nobleza que despierta respeto y admiración. El público se incorpora y rompe a aplaudir al final como recién salido de un trance.

A George Balanchine se le atribuye la expresión “el ballet es mujer” pero a juzgar por las presentaciones de Ballet Boyz y la Cie Hervé Koubi que aquí reseñamos, quizás este sea el momento para emular al gran coreógrafo y afirmar que “el ballet contemporáneo es hombre”.


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