The Source for Media Coverage of The Arts in Miami.
Articles, reviews, previews and features on dance and music performances and events.
Sign Up
No one logged in. Log in

Though the Miami New Drama-commissioned “Queen of Basel” will have its official world premiere at Studio Theatre in Washington D.C. next season, you don’t have to wait or travel to discover how playwright Hilary Bettis has reimagined August Strindberg’s controversial 1888 classic “Miss Julie.” With three powerful actors and a small audience sharing the stage space at Miami Beach’s Co..

Branden Jacobs-Jenkins, now 33, was named a MacArthur “genius” grant winner in 2016, the same year his play “Gloria” was chosen as a finalist for the Pulitzer Prize for drama. Earlier, his provocative, stylistically diverse, subversive plays “Appropriate” and “An Octoroon” (the latter was produced by Coral Gables’ Area Stage last fall) each won best new American play Obie Awards. ..

"The Other Mozart" is a suitcase play – one of those shows where a single actress can pack the entire contents that creates the setting – costume, wig, and props, and go anywhere in the world. It is the way Samantha Hoefer will arrive in Miami to present Sylvia Milo's one-woman play about Maria Anna Mozart, the not nearly as famous older sibling of that 18th century rock star Wolfgang Ama..

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, ..

Gone are the days when filmmakers needed huge budgets, and major movie studios backing them with big bucks to get their films seen, according to two producers who spent decades in Los Angeles, and have now moved their base to Miami Beach. "From a creative standpoint, there are amazing opportunities for filmmakers today," says producer Kevin Chinoy, who, along with producing partner Frances..

Mark St. Germain has achieved ongoing success with small-cast plays involving historical figures in fictional scenarios, and South Florida has been as welcoming to his work as the rest of the country. St. Germain’s “Camping With Henry and Tom,” about a 1920s camping trip involving Henry Ford, Thomas Edison and President Warren G. Harding, was produced in 1996 by New Theatre in Coral Gables..

Mexico City-based theater collective Teatro Ojo's works are constantly evolving. Nothing is ever really finished. That's because they take from every performance. Whatever the audience experiences, observes, feels, and offers feedback, which they highly encourage, all is used, considered, and included in the evolution of the same piece, or introduced into another new work. Two of the ..

“America’s Greatest and Least Known Playwright.”This is how the Cuban-American playwright Maria Irene Fornes is referred to several times throughout Michelle Memran’s documentary “The Rest I Make Up,” which makes its Florida debut this Saturday as part of Miami-Dade College’s Miami Film Festival. Fornes has been called the “Mother of Avant-Garde Theater.” Theater giants like Edward A..

“Once” has always been touched with magic. And as anyone who has seen the sublime new production of the show by Actors’ Playhouse in Coral Gables would tell you, the musical’s spellbinding pull is as powerful as ever. When Irish director-screenwriter John Carney first told the tale of a heartbroken Irish street musician and the spunky Czech pianist who reignites his passion, a 200..

Consider the idea of land in Palestine, and conflict may be the first thing to come to mind. But for Jumana Emil Abboud, the Palestinian landscape evokes other, older, associations – with mythological creatures like water spirits and ghouls. “These stories were told way before 1948,” says the Galilee-born artist, speaking by phone from her home in Jerusalem. She suggests looking back ..

Dimensions Dance Theatre of Miami has been on a trajectory best described as meteoric. In its first 18 months DDTM has been a 2017 Knight Challenge Grant recipient and now will debut at New Y..

Amirah Sackett came up as a dancer in Chicago’s hip hop scene at a time when women were rare in the mostly male community. But she also visibly stood out as a Muslim. She keeps her hair cover..

Inside the Little Haiti Cultural Complex, where Dance Now! Miami is in residence, there is a hub of activity as the company prepares for its performance on Saturday night of Contemporanea 201..

One of the signatures of the National Water Dance project since its inception seven years ago was that dance troupes, large or small, professional or school groups, were free to perform whate..

Miami City Ballet is in league with Russians – in a good way -- and this promises to make a selection of dances look great again. The company’s final program this season brings back Apollo an..

Hidden behind a busy street in North Miami Beach is the Ancient Spanish Monastery, where Dance Now! Miami will bring the past into the present – and back into the past. Ekphrasis describes th..

Sometimes dance seems as easy as walking down the street. John Heginbotham, founder and artistic director of Dance Heginbotham, describes his dancers as moving in an unaffected, natural manne..

On the heels of a year-plus parade of #MeToo confessions, celebrity shamings and women’s marches, comes Marisa Alma Nick’s female-power-packed “A Rebel in Venus.” “It wasn’t planned that ..

Choreographers are usually curious people. Augusto Soledade’s curiosity leads him in many directions, including ideas on Madonna, voguing, and selfies. It all began with “thoughts on identity..

Ira Sullivan has been a musician for a long time. His father, part of a large musical family, was in the restaurant business. But he played trumpet for fun and stored his horn behind the couch, Su..

The music of Thelonious Monk has been a source of endless fascination and with good reason. Monk’s universe has its own laws. Beautifully constructed and quirky, soulful but also paced by br..

The first time the Amernet performed “The Seven Last Words of Christ” during Holy Week – the week leading up to Easter -- the string quartet played in darkness. Just hours before, cellist Jas..

Drummer Dafnis Prieto and pianist Omar Sosa closed this year’s Global Cuba Fest at the Light Box in Wynwood, Miami, with shows on Friday and Saturday, March 16-17 that suggested a sort of mus..

Mention flamenco and the immediate associations are with dancing, singing and the guitar. The piano has a rather tentative history in flamenco. While some scholars include the instrument in p..

The ancient Japanese art of Taiko drumming comes to Miami this Friday, with Tao: Drum Heart, which premiered at the Edinburgh Festival Fringe and has gone on to tour internationally, getting ..

It’s not by chance that the music of Cuban drummer, composer, educator and bandleader Dafnis Prieto unfolds with such purpose. An accidental immigrant in 1999 — he was living with ..

In the music of Las Cafeteras and Orkesta Mendoza, presented by Fundarte at the South Miami-Dade Cultural Arts Center Saturday, the border is no place for walls but rather, a moveable feast. ..

Performance Hall at New World Center was packed Saturday, Feb. 3 for the New Work program, which NWS conductor and artistic director Michael Tilson Thomas introduced as “one of the more adve..

El hombre es el centro de la obra coreográfica de Soledade

Photo: Pie de Foto: Las bailarinas de Brazzdance en “Shade”. Fotógrafo: Mitchell Zachs.
Written by: Orlando Taquechel
Article Rating

El grupo de danza contemporánea Brazzdance dirigido por su fundador, el coreógrafo Augusto Soledade, se presentó el sábado 31 de marzo en el Carnival Studio Theatre del Arsht Center de Miami. El programa, con el título de “Shade”, incluyó tres coreografías diferentes: la pieza de igual nombre estrenada el año pasado, "Think Blue" (también de 2017) y "Some Things Revealed", que data de 2010.

El estilo de Soledade es abiertamente experimental con fuerte influencia de la danza moderna y un reiterativo acento afrobrasileño (Soledade nació en Bahía, Brasil y estudió con Garth Fagan y Clyde Morgan). Sus trabajos por momentos se acercan a la danza teatro y abordan de manera tangencial el folklore teatralizado pero son sobre todo ejercicios de búsqueda expresiva y danza “de autor”.

La noche abrió con “Shade”, la coreografía. Esta es una obra de grupo para seis bailarines que cuenta con una partitura original de Jessica Muñiz-Collado y el apoyo de la obra artística de Kandy Lopez.

Soledade presentó “Shade” como obra en proceso en mayo de 2017 en el Gleason Room del Fillmore Theater Miami Beach. Lo que entonces nos pareció un sofisticado ejercicio de inusitada belleza para seis bailarines soberbios sigue siendo una propuesta formal llena de atractivo pero es ahora un trabajo que ha madurado significativamente.

Cuando el público entra al Carnival Studio Theater del Ziff Ballet Opera House del Arsht Center - un espacio tipo caja negra de apenas unos 300 asientos – los bailarines de Brazzdance se encuentran en el piso en posición fetal. En la iluminación predomina el color azul y hay figuras planas dibujadas en el telón de fondo de color oscuro.

Por un buen rato parece no pasar nada (en realidad, un poco de edición no le vendría mal a “Shade”) hasta que, poco a poco, los bailarines comienzan a moverse. Son 5 mujeres y un hombre en vestuario color carne. Los latidos de un corazón indican que han cobrado vida. Por fin se incorporan, cuatro de ellos se sientan en las sillas ubicadas a ambos lados de la escena y una pareja – hombre y mujer – quedan en el centro. Se abrazan y parecen aprender juntos como moverse.

En algún momento el hombre (Bruno Jacques-Louis) queda solo en escena y el ambiente se transforma. Estamos ahora en una discoteca y Jacques-Louis es un animador gritón que presenta concursantes en una especie de competencia. Hay solos, dúos y un trío donde el mismo participa. Al final todos bailan. Soledade utiliza de manera libre y efectista – por momentos caricaturizada - el famoso estilo vogue para establecer actitudes y personalidades.

Hay también una secuencia donde una bailarina con un celular (la carismática Kassi Abreu) se toma selfies con el público. Se escucha la expresión “I am…” y todos los participantes la completan diciendo cosas como “soy mujer” “soy hombre” “soy puertorriqueña” mientras interactúan con las sillas, ahora agrupadas en el centro. Las individualidades se emparejan, el ritmo se acelera y el efecto es electrizante.

Eventualmente se colocaran en fila frente a los espectadores para después ocupar áreas aisladas. La escena se oscurece, la última palabra que escuchamos es “human” y de esa forma “Shade” llega a feliz término con un mensaje contundente: “todos somos humanos”.

Entre los intérpretes – todos excelentes – sobresalen Jacques-Louis y Lucia Rodríguez. El primero es un ejecutante virtuoso y un actor versátil y divertido. Rodríguez es una mujer muy bella y una presencia escénica inquietante.

Después del intermedio se presentó “Think Blue”, inspirada en el libro “Why The Sky Is Far Away – A Nigerian Tale” de Mary-Joan Gerson y concebida como parte de una iniciativa para promover la literatura infantil utilizando la danza contemporánea. El cuento narra como al principio el cielo estaba tan cerca de la tierra que cualquiera podía simplemente tomar un poco de este para alimentarse. Lamentablemente, el derroche y la ambición provocaron el enojo del cielo e hizo que se alejara, obligando al hombre a arar los campos y cazar en el bosque.

“Think Blue” es una pieza encantadora con sus globos azules, la música persuasiva de Brandon Cruz y su aliento de relato fabulesco.

Al final le llegó el turno a “Some Things Revealed”, creada originalmente para el grupo Moving Current Dance Collective (MCDC) con sede en Tampa. Según las Notas al Programa, en esta obra con música brasileña de Céu, Barbatuques y Marcos Suzano, Soledade combina los estilos e idiomas de ambas agrupaciones (MCDC y Brazzdance) “buscando una nueva mezcla de ideas que son reveladas cuando los bailarines entran y salen de la luz a lo largo de la obra.”

La obra da inicio con los bailarines emergiendo de la oscuridad y tiene su momento más inspirado cuando, agrupados en tríos, estos son presentados de manera alternada en áreas definidas por cenitales. La luz pone al descubierto lo que queremos que sea visto y la oscuridad nos permite ocultar lo que queremos mantener en privado, parece afirmar Soledade.

“Shade” – la coreografía - es un trabajo sugerente y una obra que muestra a un artista en categórica madurez creativa. “Think Blue” y “Some Things Revealed” son piezas que ilustran además su versatilidad. “Shade” – el programa – reafirma que el hombre es el centro de la obra coreográfica de Soledade y la realización de su naturaleza es su más entrañable leitmotiv.


Deja un comentario ...
Debe estar registrado
No one logged in. Log in
Deja un comentario ...
Was this helpful?
No Very

Captcha Image