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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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La danza desde posiciones diametralmente opuestas: Shaping Sound y L.A. Dance Project

Photo: Foto: Lex Ishimoto y Travis Wall en After the Curtain. Fotógrafo: Mat Hayward
Written by: Orlando Taquechel
Article Rating

El lugar privilegiado que ocupa Miami hoy en día en el mundo de la danza no tiene discusión. Además de contar con una vibrante oferta local de proyección internacional que dura todo el año y que se distingue por su variedad y riqueza creativa, Miami es la sede de eventos donde se reúnen participantes provenientes de todas partes y es visitada constantemente por compañías importantes. Miami es ahora casi como Nueva York o Londres pero sin las bajas temperaturas y los miamenses amantes de la danza están de plácemes.

En este contexto, la semana pasada se presentaron en el Arsht Center for the Performing Arts la compañía Shaping Sound de Travis Wall y el grupo L.A. Dance Project de Benjamin Millepied. Estas dos agrupaciones californianas fueron creadas al mismo tiempo en 2012 pero asumen la danza desde posiciones diametralmente opuestas.

Los 2,400 asientos y el enorme escenario del Ziff Ballet Opera House resultaron insuficientes el martes para After the Curtain, la propuesta espectacular de Wall que es todo un acontecimiento multitudinario y una experiencia abrumadora, pero fueron demasiado para la entrega muchísimo más modesta de Millepied el viernes.

Las coreografías de After the Curtain son de Nick Lazzarini, Tedy Forance y el propio Wall, que también concibió y dirigió esta puesta en escena utilizando un elenco que es un sueño hecho realidad para los seguidores del show de televisión So You Think You Can Dance (SYTYCD): Wall, Lazzarini, Gaby Díaz, Lex Ishimoto y Taylor Sieve han sido ganadores o finalistas en temporadas diferentes. Junto a ellos aparecen bailarines igualmente talentosos procedentes de otros medios: Chantel Aguirre, Barton Cowperthwite, Jay Jay Dixonbey, Rory Freeman, Kate Harpootlian, Michael Keefe y Lindsay Leuschner.

Definitivamente, es un disfrute enorme poder ver a todos ellos en vivo… cuando las luces y los efectos especiales lo permiten. La parafernalia es el mayor problema de After The Curtain. Su interesante punto de partida, su valentía temática y el trabajo de los intérpretes merecen una puesta en escena menos efectista.

Así las cosas, uno quisiera poder apreciar mejor la historia del protagonista - un hombre que lucha por encontrar su voz creativa después de la muerte del amor de su vida - y ver acciones dramáticas en lugar de la representación de situaciones de alguna manera ya descritas.

After The Curtain se alarga innecesariamente y termina más de una vez. Pero aún así, es una propuesta artística que deslumbra avanzando de showstopper en showstopper y provocando de principio a fin expresiones de admiración y explosiones de aplausos por parte de un público que parece reconocer con familiaridad – incluso con cariño - a todos los participantes.

Tres días más tarde llegó la noche de L.A. Dance Project.

Las notas al programa del grupo de Millepied son instructivas (como deben ser) pero incluyen valoraciones que resultan contraproducentes porque crean demasiadas expectativas sobre los trabajos presentadas. Sobre todo con respecto a la obra de Peck, conocido en Miami por sus dos piezas originales para el Miami City Ballet: Chutes and Ladders (2013) y Heatscape (2015).

La coreografíade Peck, que abrió la función, es una obra sin argumento para seis bailarines con música de Bryce Dressner que tiene momentos sugerentes y se proyecta heredera de Jerome Robbins pero es un trabajo menor. Por su parte, Second Quartet de Noé Soulier (segunda obra del programa) es un ejercicio de experimentación interminable que tampoco se consolida como una propuesta escénica significante.

En general, L.A. Dance Project da la impresión de entregarse en demasía a la improvisación y parece no estar muy interesado en la perfección técnica o la expresión dramática. Los tres trabajos que integran el programa permiten que cada ejecutante se repita hasta la saciedad y solo hay que seguir a un mismo bailarín de obra en obra para descubrirlo.

Por suerte, la función cerró con Chaconne (Part 1), una obra de grupo para toda la compañía (son nueve bailarines) y un estreno mundial de Benjamin Millepied, que el público aplaudió eufórico al descubrir que podía por fin disfrutar de los artistas como ejecutantes virtuosos. No hay que olvidar que Millepied fue intérprete de la Chaconne de Balanchine en sus tiempos con el New York City Ballet.

Según las notas al programa la intención de Millepied era “explorar” la música de Johann Sebastian Bach “aplicando a la coreografía sus técnicas de composición de contrapunto, fuga y canon”. Millepied asume la tarea con soltura y conocimiento de causa. Chaconne (Part 1) es una propuesta atractiva y un boceto prometedor – todavía falta definición en el trazo - que se apoya igualmente en recursos y soluciones de la danza posmoderna, el ballet de repertorio, el baile de salón e incluso en la repetición de cosas ya vistas en las obras de Peck y Soulier, quizás en un intento por establecer constantes de estilo para la compañía.

Al salir del teatro, una vez terminada la función, nos queda la duda siL.A. Dance Project pudo haber sido mucho mejor apreciada con un encuentro up close and personal en un lugar mucho más pequeño como el Carnival Studio Theater del propio Arsht Center.


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