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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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 ..
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..
I first saw the flamenco dancer Celia Fonta perform with her husband, Spanish guitarist and singer, Paco, some 20 years ago at Café Miro, a small Spanish tapas bar on Espanola Way in South Beach. My friend Elizabeth Cerejido, a curator, who took a stunning series of portraits of Celia, and I were devotees of the duo. Celia, in particular, mesmerized us. Just as a flamenco song can crescendo into a lament, at its most heightened moments, Celia’s dancing evoked a sense of struggle, as if she were struggling against the dance itself. I sensed that this illusive quality reached beyond technique, beyond talent even, although Celia clearly possessed both. Originally from Chicago, she had lived in Spain for many years where she learned the language, culture, and dance.
Fonta and her company Siempre Flamenco will bring their version of flamenco in “Duende,” this weekend at the South Miami-Dade Cultural Arts Center.
Celia explained in a recent interview with Artburst the essence of duende: “Duende is a word used often in flamenco to explain that moment when one is singing, dancing or playing the guitar, and the power, magic, spirit, essence -- all the words we use to explain the unexplainable -- overtake you and you become ‘entranced,’ completely absorbed in that moment, not thinking, just letting the duende take over and flamenco magic happens. You will know when you see or hear it because you will feel goose bumps.”
Celia and Paco Fonta’s company, Siempre Flamenco, will perform the aptly titled show Duende this weekend. They are joined by Niurka Marquez and José Luis de la Paz, internationally acclaimed dancer and guitarist respectively. José Junco, a Miami resident from Madrid, will perform a farruca, a flamenco form traditionally danced by men.
De la Paz makes a case for dismantling the dichotomy of fusion – a fusion with theater, with other rhythms, with other instruments, with other voices or with other styles of music and dance -- versus “traditional” flamenco: “This concept of ‘fusion’ is more of a commercial brand than a concept,” he points out. “Flamenco has been a result of fusion with other cultures from the beginning, it's part of its nature; so, coming from Spain, I don't understand this worry about fusion. Being ‘fusionado’ is part of being flamenco.... And, at the end of the day, only a few of those encounters will be integrated into flamenco. But it's part of being flamenco, feeling the necessity of making contact with other sounds, movements or styles of arts.”
Performer Niurka Marquez defines duende as a capacity to connect: “My perception of it over time has expanded to include other understandings, like our connection to the earth under our feet and our reaction to a really beautiful musical phrase or a deeply felt song. It is always present because it is precisely about being present and to me, that is what lies at the core of my art.”
In literary and dance circles, the word duende has often been romanticized. In the end, it may be important to demystify the word because it has become associated, at times, with convoluted ideas and exoticism. As de La Paz asserts: “Duende is nothing, and it could be everything, but it's not the property of flamenco: It's part of life. Duende could be present in a gaze, or in a gesture or in a child's smile. You only have to be able to recognize it.”
Siempre Flamenco’s ‘Duende,’ Saturday, Nov.. 12 at 7:30 and 9:30 p.m., and Sunday at 3:30 p.m., South Miami Dade Cultural Art Center’s Black Box Theater in a café style setting with tapas and wine available, 10950 S.W. 211 St., Cutler Bay; tickets $30 in advance, $35 day of show; www.smdcac.org ; or 786-573-5300.
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