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

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 ..

Steven Levenson’s “If I Forget” began its Off-Broadway run a year ago, closing just six weeks before the now 33-year-old playwright won the Tony Award for writing the book of the acclaimed musical “Dear Evan Hansen.” Cut to February 2018, and South Florida already has its own exquisite production of “If I Forget,” thanks to GableStage artistic director Joseph Adler. Levenson’s fun..

In a career that continues to soar two decades after his first play was produced, Michael McKeever has premiered his dramas, comedies and short plays at theaters all over South Florida. Nearly always, he’s involved in those productions as the author, sometimes as an actor, at times as a set designer. The plays get their start here, then go on to productions (sometimes multiple product..

When M. John Richard decided to leave the New Jersey Performing Arts Center in late 2008 to become president and chief executive officer of Miami’s Adrienne Arsht Center for the Performing Arts, he arrived in South Florida with a vision, myriad ideas and a long-term exit strategy. “I knew in 2008 that I had a 10-year run in my tank,” says Richard, 65, who plans to retire from his Arsh..

Friendships can bring seemingly unlike people together to sometime form a strong bond. Such is the case in Walter Dean Myers’ coming of age novel, Darius & Twig. According to the summary notes of the book “Two best friends, a writer and a runner, deal with bullies, family issues, social pressures, and their quest for success coming out of Harlem.” It’s a tale of endurance, perseverance, an..

Kristoffer Diaz’s searing, hilarious and all-too-resonant play “The Elaborate Entrance of Chad Deity” isn’t new to South Florida. The 2009 script, a finalist for the Pulitzer Prize for Drama, made its area debut in 2012 in a fierce and fine production at Boca Raton’s Caldwell Theatre Company just a few months before the long-running regional powerhouse folded. Now “Chad Deity” has ret..

“This is no camera, nothing cut. This is real," says Tranee Wallace, whose story is one of three live radio plays in Dan Froot and Company's "Pang!" at Miami Light Project's Light Box at the Goldman Warehouse. Hers is one of a triptych of oral histories adapted into plays of families facing adversity: A Los Angeles single mom who loses the home she and her nine children live in after..

When it comes to farces, Michael Frayn’s “Noises Off” is one of the great ones. The 1982 comedy has made it to Broadway three times, and American audiences all over the country have embraced it in countless regional productions. Actors’ Playhouse is having a go at “Noises Off” as the second show of its 30th anniversary season. The play fits like a period glove on the main stage at the..

The intricate alchemy of inspired theatrical art is on full display in Zoetic Stage’s darkly hilarious, gripping world premiere of Christopher Demos-Brown’s “Wrongful Death and Other Circus Acts.” Demos-Brown, a rising theatrical star whose play “American Son” will open on Broadway in November, has drawn on his experience as a lawyer working on wrongful death cases to create a savage exami..

My Barbarian wanted to take Miami on a boat ride. “We wanted to interact and be out in the public,” Alex Segade reveals over the phone from Los Angeles, where he just got out of rehearsal for My Barbarian’s first Miami show, coming up this Saturday at the Miami Light Project, as part of Miami-Dade College’s Museum of Art and Design’s “Living Together” performance series this season. ..

When the Alvin Ailey Dance Theater returns to town this week, Miami native son Jamar Roberts will take center stage. As one of the company’s star dancers, he has long shined as a performer. B..

He says his dance comes from his dreams. French-Algerian choreographer Hervé Koubi’s most recent work, “What the Day Owes the Night” combines Sufi rhythms with cutting edge b-boy moves, class..

A world premiere always comes with a drum roll. And, throughout the years, Miami City Ballet has brought to light its fair share of resounding new works. Still, Brian Brooks’ freshly-minted O..

Wednesday night at the Arsht Center’s Knight Concert Hall the South Florida Symphony Orchestra in collaboration with the Martha Graham Dance company presented “Appalachian Spring Suite” and “The R..

Cooking may be Dan Froot’s favorite thing. This is saying a lot since Froot is also a composer, a dancer, a sax-player, a play-wright, an oral-historian -- an all-around performance artist an..

With the closing of Tigertail Productions last year, Miami lost one of its preeminent artistic champions. Under the direction of founder Mary Luft, Tigertail brought an endless parade of boundary-..

Anytime would be a good time to devote a dance program to the works of Jerome Robbins, our most versatile and celebrated American-born choreographer. But, given that 2018 marks the centennial..

Due to winter storms in the Northeast impacting travel, with great regrets the Bill T. Jones/Arnie Zane Company announced the cancellation of the Saturday, Jan. 6 performance. At age..

It is fitting at this time of the year that our thoughts often turn to what connects us not what divides us. Whether we are driven by religious or secular motives, many of us are in the spiri..

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..

Having grown up in Buenos Aires with a strong interest in music, one would think that Jaime Bronsztein (http://jaimebronsztein.webs.com/) would have slid down the well-lubricated tracks towar..

A creepy old king ogles his beautiful stepdaughter. Powerless to stop him, her mother, the queen, protests drunkenly. The girl, age maybe 12 or so, falls for the only man who does not lust af..

At first their sound is reminiscent of Bob Marley. Just as plaintive but with added punch. But listen longer -- the more familiar the music feels, the harder it is to pin down. This is t..

People often imagine new artwork is the product of the solitary artist genius slaving away in lonely studios. The South Florida Symphony’s 20th anniversary program foregrounds a different vis..

At an age when many are winding down their working lives, Ignacio Berroa eagerly anticipates a new stage in his career. It would be understandable if the 64-year-old drummer, recognized a..

We know it’s the holiday season when trees light up, menorah candles start to burn, ubiquitous Christmas carols pipe through drugstores, “The Nutcracker” plays on every stage – and in recent ..

Late last year, on Dec. 20, 2016, Romero Britto and Mark Bryn hosted the Great Artists Series Cocktail Reception at the Britto Fine Art Gallery to celebrate the legendary impresaria, Judy Dru..

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.

 


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

Captcha Image