|
SEVILLE'S
BIENAL DE FLAMENCO 2002. 'LA VOZ DEL SILENCIO'
Excessive wrapping
Silvia Calado Olivo. Seville, October 3rd,
2002
Photos: Javier Hurtado
'La voz del silencio'. Choreography, artistic
direction, original idea, dance: Eva Yerbabuena. Musical
composition, direction, guitar: Paco Jarana. Script and staging,
Hansel Cereza. Dance, guest choreographer: Patrick de Bana.
Actor: Juan Navarro. Dance: Edu Lozano. Corps de ballet: Mercedes
Ruiz, Lucía Guarnido, Marta Arias, Sara Vázquez,
Pedro Córdoba, Luismi González, J. Carlos Cardoso,
Rubén Olmo. Guitar: Salvador Gutiérrez. Percussion:
Antonio Coronel. Tenor sax: Ignacio Vidaechea. Cantaores:
Enrique Soto, Segundo Falcón, Pepe de Pura. Lighting:
Ziggy Durán. Wardrobe design: Francis Montesinos. Teatro
Central. Seville, October 3rd, 2002. 9:00 p.m.
A reflection upon the state of coma: a romantic fantasy beyond all coordinates
of time and space. On this premise Eva Hierbabuena has constructed a new work
which, in synthesis, drowns an essentially original dance in contrived and overwrought
stage paraphernalia. The constant raising and lowering of curtains and screens,
the lighting of one musician-containing capsule after another, a tablao
that actually tilts, shadows then darkness, bare lightbulbs hanging… An excessively
baroque aesthetic which does nothing whatsoever to clarify the confusing plot.
An actor and a dancer are presented in the middle of the confusion as key pieces:
one, a reciter of amorous poetry for mass consumption; the other, personifying
destiny in mellifluous duets communicating domination. The couple works against
the corps de ballet which barely sketches two dances: one of them, the seguiriyas,
in shadow; and the other a fully illuminated bulerías.
The work has the benefit of a double lifesaver: Eva Yerbabuena's dancing, and
the original music of Paco Jarana. The dancer from Granada manages to deliver
the audience from solid to liquid state in each of her appearances. She radiates
flamenconess without letting it go at that, her dance is full of never-before-seen
movements, such curved postures as to appear impossible, she is flexible and enormous
in her smallness, balanced between femininity and footwork, which she employs
with percussive precision…as much music as anything else. Within the fishbowls
the two guitars, three singers, the percussionist inspire movement. Flamenco lays
down its own law, but without choking off the pores. The percussion takes charge
bit by bit: the heart, the mysterious. And the singing tells a story, true unto
itself. Segundo Falcón…
To leave the theater saying that the last solo dance of Eva
Yerbabuena made the show worthwhile is sad…
|
The other side of the story
The accounts don't add up: either the calculations
up to now were way off, or the descent has been extreme,
or the statistics are skewed. According to a statistical
study carried out by the Conserjería de Turismo
throughout the present Bienal de Flamenco de Sevilla,
the festival is bringing 4,500 people who are leaving
about 7.82 million euros in the city. Nevertheless,
up until the previous edition of the festival, the organization
maintained that about twenty thousand foreigners attended
to its call, a number which represented thirty percent
of the total.
|
| |
revista@flamenco-world.com
|
