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Encuentro cercano del Miami City Ballet con el estilo posmoderno

Photo: Los bailarines de MCB en One Line Drawn de Brian Brooks. Fotógrafo: Alexander Iziliaev)
Written by: Orlando Taquechel
Article Rating

La atracción principal del tercer programa de la temporada 2017-2018 del Miami City Ballet (MCB) que se presentó el fin de semana pasado en el Arsht Center fue el estreno mundial de One Line Drawn (en español, Una Línea Dibujada), una obra creada para la compañía por el coreógrafo posmoderno neoyorquino Brian Brooks, comisionado por el Harris Theater de Chicago.

Dos piezas de repertorio ampliamente conocidas completaron la oferta: Theme and Variations de George Balanchine y The Concert (Or, the Perils of Everybody) de Jerome Robbins. Todo el programa disfrutó de acompañamiento con música en vivo.

La bellísima Jennifer Lauren y un diligente Kleber Rebello debutaron en los roles principales de la obra maestra de Balanchine con música de Tchaikovsky que abrió la función y MCB viene representando desde 1997. Ambos se entregaron a la tarea con esmero evidente y tuvieron momentos de virtuosismo que pronostican lo que están destinados a alcanzar cuando se adueñen por completo del material.

Por su parte, Tricia Albertson, Reyneris Reyes y el pianista Francisco Rennó (ante el teclado o persiguiendo bailarines con una red para atrapar mariposas) se lucieron como comediantes en la divertida “farsa en un acto” de Robbins con música de Chopin (incorporada al repertorio del MCB en 2015) que cerró el programa.

Con respecto a One Line Drawn, hay que señalar que su equipo creativo incluye al miamense Michael Gordon en la música, Karen Young en el vestuario y Aaron Copp en el diseño de iluminación. Todos ellos son profesionales de larga trayectoria y bien ganada reputación.

Con un pedigrí tan llamativo, es natural que sean inmensas las expectativas y numerosas las preguntas. ¿Una coreografía original de estilo posmoderno para MCB? ¿Es esta una buena idea? ¿Merece la pena someter a los bailarines del MCB a este tipo de experiencia? ¿Aceptaráel público asiduo a las funciones del MCB un trabajo con intenciones tan distantes a las del repertorio habitual de la compañía? Después del recibimiento siempre apreciativo en toda noche de estreno, ¿tiene One Line Drawn algún futuro como obra de repertorio?

Por razones obvias, las respuestas a algunas de las preguntas antes mencionadas no se encontraron en la función que reseñamos y probablemente permanecerán un tiempo sin respuesta.

Para López, como directora artística del MCB, One Line Drawn es parte de su “búsqueda de flexibilidad artística para los bailarines” y para Brooks es la oportunidad para ampliar sus “límites artísticos” según afirmó en la sesión Open Barre de hace unos días.

Desde su aparición en los años 60 del siglo pasado, el término posmoderno ha sido utilizado “al gusto” y aunque tiene algunas constantes estilísticas hoy en día identifica maneras de hacer muy diferentes entre si. A este tipo de danza le ha costado mucho trabajo abandonar el autoconsumo y no existe una técnica específica de danza posmoderna.

La iluminación efectista de Copp (30 luces frontales organizadas en hileras que se magnifican en líneas horizontales y verticales), el vestuario ligero de Young (gris metálico, el mismo para todos) y la música posminimalista de Gordon (pulsante, obsesiva) apoyan la obra sin argumento de Brooks.

Luces y música contribuyen a la atmósfera opresiva que permea toda la puesta en escena mientras la ropa adiciona una cierta ilusión de fluidez al trazo coreográfico. El resultado final es una experiencia angustiosa que se regodea en el movimiento implícito pero que igualmente sugiere la existencia de una presencia avasalladora dirigiendo la vida de un grupo de personajes sin biografía, que son obligados a entrar y salir de las sombras.

Un “solo” no se define exclusivamente por el hecho de que un bailarín se mueva solo en escena. Cuando un bailarín de ballet se encuentra ante la necesidad de experimentar y es requerido “hacer algo” ignorando el juicio estético adquirido a través de su entrenamiento académico, el resultado se siente incompleto, incluso incómodo. One Line Drawn no es la excepción. Aún así, Shimon Ito, Chase Swatosh, Renan Cerdeiro y sobre todo Natalia Arja consiguen sobresalir como individualidades.

La obracomienza con todos los bailarines en fila - de espaldas al público - y termina con un bailarín solo, también de espaldas. La propuesta artística de Brooks resulta interesante al principio, es anodina en su parte media y se recupera al final cuando el coreógrafo explora agrupamientos y diseño de piso.

One Line Drawn queda en la memoria como un ejercicio alienígeno que, sin proponérselo, ilustra la problemática de los estilos intentando aceptación y reconocimiento fuera de su contexto habitual.


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