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¿Sólo cuerpos? Experimentación y diálogo
To let the body talk through an exercise in experimentation, without avoiding the full rigor that this presupposes. In just one day, the Festival Temporada Alta offered us the possibility of attending three contemporary dance proposals. It’s worth saying in its favour, that two of them were free, and this, bearing in mind the current circumstances, is more than a gift, particularly, having seen the results.
It began in the morning with a spectacle-aperitif. The choreographer Lali Ayguade, in collaboration with Joan Català and Jordi Molina, carried out an exercise that proposed an encounter between the three of them, through different biorhythms. A sort of three sided game, between two dancers and a musician. A venture where a latent tension caresses the bodies, urging them to continue. A look or a vibration, as a motor or a challenge. Nothing more. The air was sliced when, in the face of a collision of their bodies, the gaze of one sought out the invisible vibration of the acoustics. A motif like a compass, an unstated complicity, the interweaving of the three as a road map.
The second show arises out of the installation that William Forsythe thought up for one of the warehouses still awaiting redevelopment, in the Factory Cultural Comacros. A room full of pendulums that becomes a metaphor via the work carried out by the interpreter Brock Labrenz. Under the name of Nowhere and Everywhere at the same time, it situates us in a space that favours the paradoxical, referring to Jacques Lusseyran, a member of the French resistance who, afflicted with blindness, began to describe the form in which objects and thoughts appeared to him indistinctly. The result activates a series of invisible forces that make it possible to carry out a sort of vision/reflection on gravity, movement and presence.
Recollecting the thread that memory offers, we travel through the day by way of gestures that are capable of working with the space, with what remains latent, invisible and in silence.
The third and last spectacle arrives at the hands of Blaï Mateu Trias and Camille Decourtye, in artistic collaboration with María Muñoz-Pep Ramis/ Mal Pelo and Benoît Bonnemaison. Mazùt presents two individuals who go in search of their animal interior. The spectator, through graceful and comic forms, is slowly introduced into something that ends up appearing familiar. It is there where humanity begins to be unbearable. The asphyxia of the everyday, with verbal language as its ally, this is the key. Too many empty discourses and bodies that don´t communicate appear via images with a strong poetic charge, iconographic poetry, simple and robust. Inevitably, time passes as we watch what happens with the gesture, however, something that doesn´t fail to surprise is the capacity to freeze instants, to capture time. A combination of extreme fragility, golden perceptions and aesthetic care lead us through an existential tunnel: respiration as the last refuge, proof to know that we exist.
Three proposals that delve into the need to establish links. Times that are not recognisable and individuals that blindly seek communion.
"A desk is a dangerous place from which to watch the world" (John Le Carré)