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Open Barre para un estreno mundial de Brian Brooks con MCB

Photo: Los bailarines de MCB (Shimon Ito al centro) durante Open Barre dedicado a estreno del coreógrafo Brian Brooks. Foto de Alexander Iziliaev.
Written by: Orlando Taquechel
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Por dos noches consecutivas, el Miami City Ballet (MCB), que dirige Lourdes López desde 2012, abrió las puertas de sus instalaciones en Miami Beach para ofrecer un encuentro Open Barre con el coreógrafo Brian Brooks y el compositor Michael Gordon con motivo del estreno mundial de la obra One Line Drawn (en español, Una Línea Dibujada) en la que ambos colaboran y que se presentará el próximo viernes 9 de febrero en el Arsht Center de Miami.

Este es un trabajo que fue encargado por el Harris Theater de Chicago como parte de una Residencia de tres años otorgada a Brooks, un creador de danza contemporánea que desde 2002 dirige su propia compañía (Brian Brooks Moving Company), es reconocido como un talento innovador y ha sido muy elogiado por su dueto con Wendy Whelan titulado First Fall que aparece en el documental Restless Creature que vimos en el pasado Miami Film Festival

El Programa III de la temporada 2017-2018 del MCB incluye también Tema y Variaciones de George Balanchine y The Concert (o, The Perils of Everybody) de Jerome Robbins.

Al inicio de la noche que reseñamos, López aclaró que en realidad Brooks fue comisionado por el Harris Theater para trabajar con MCB y cuando este expresó su deseo de contar con una partitura original para la obra, MCB comisionó a Gordon para que lo acompañara en el proyecto. López y Brooks se conocieron en 2016 mientras MCB se estaba presentando en Chicago.

La desenvoltura de López como moderadora permite que sus invitados se sientan cómodos y como siempre consigue un Open Barre muy agradable donde en esta ocasión el locuaz Brooks se proyectó enseguida como un conversador innato.

Durante un poco más de una hora, Brooks compartió con los presentes su impresión del MCB (“una compañía extremadamente generosa cuyo arte va más allá de la capacitación y el talento”), su proceso de trabajo (“de mucha investigación, como en un laboratorio”), su sentimiento como coreógrafo postmoderno trabajando con bailarines de intensa formación académica (“lo encuentro estimulante”) y el punto de referencia que comparte con ellos (“el entrenamiento en ballet”).

Brooks habló también de lo que le llama la atención (“la trayectoria del esfuerzo del bailarín”), donde concentra su interés (“en la transición”), como se autodefine (“como un formalista”) y por qué nunca pide “actuar un sentimiento” (“yo creo que la narrativa y la emoción, la metáfora y la oportunidad para la conexión humana llegan de alguna manera si estamos realmente haciendo bien nuestra técnica”).

La conversación es interrumpida en varias ocasiones para presentar momentos de la obra– todavía un trabajo en proceso. Los 16 intérpretes del primer elenco muestran una dinámica escena de grupo, Brooks aclara que el fondo del escenario estará a oscuras en la función y les dice: “ustedes mejoran por hora… gracias… estoy muy entusiasmado”.

A continuación se presentaron breves sesiones de trabajo coreógrafo/bailarín. Shimon Ito ejecuta una coreografía con música, Brooks le pide que la repita sin música y sugiere algunas correcciones. Ito las integra de sin dificultad a su ejecución y deslumbra a todos. Algo similar ocurre durante un segundo solo con Chase Swatosh.

El tercer solo, a cargo de Nathalia Arja, ilustra como Brooks ha incorporado en esta ocasión las zapatillas de punta a su propuesta coreográfica. Un dueto que ejecutan Alexander Peters y Shimon Ito es un ejemplo del trabajo de pareja de Brooks con bailarines del mismo sexo.

“En mi compañía, siempre tengo hombres y mujeres que se relacionan y se alzan mutuamente, que se preocupan unos por otros. Creo que es algo atlético donde todos están haciendo la misma tarea” afirma Brooks. “Entiendo que en una compañía de ballet esto probablemente sea algo nuevo para algunas de las personas bailando y para algunas de las personas que lo ven.”

Tras otro segmento con un doble trío, Michael Gordon se une por fin a la conversación y comenta “hoy hemos visto como cada bailarín comienza a moverse pero no hay conclusión en el sentido de que no hay un punto al final de la frase. De alguna forma esta sigue fluyendo. Yo he tratado de conseguir en la música ese mismo efecto de movimiento suspendido al final haciendo que cada frase termine de alguna manera en una respuesta.”

Como cierre, todos los bailarines ejecutan los minutos finales de la pieza y el público aplaude con entusiasmo. Ahora solo nos queda esperar por la noche de estreno.

El Programa Tres del Miami City Ballet, que incluye el estreno mundial de “One Line Drawn”, se presenta en The Arsht Center for the Performing Arts, 1300 Biscayne Blvd., del 9 al 11 de febrero, viernes y sábado a las 8 PM, el domingo a las 2 PM. Entradas disponibles entre $25 y $105 visitando www.arshtcenter.org o www.miamicityballet.org

 



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