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Monday,
September 18th: Theater Central
Bachdaliana.
With Fernando Romero and Isabel Bayón.
BINDING
BACH
Isabel Bayón
"Chrysalis
of second biological intentions," read the last recited text of Salvador
Dali, describing Narciso-Gala. Fernando Romero wove Bach and Dali around the figure
of his wife (Manuela Nogales, contemporary dance teacher) in this ‘Bachdaliana’,
that shows what could be, and isn’t.
With a more baroque
and less surrealist conception than expected, tangled up ever since his ‘Eco
flamencomorfológico de J.S. Bach’ (awarded in the Festival de Jerez
last year), and tightly confined like the narrow shoes that Dali wore for his
conferences (in speaking, he would respond to the pain) that inspired this work...
Flighty, dance held within a stone of light, baritone, Latin, quejíos,
synthetic materials…
Representing flamenco
dance, Isabel Bayón and Alicia Márquez. Alicia and Fernando participated
in ‘El perro andaluz. Burlerías,’ by María Pagés,
another ground-breaker, and Isabelita has worked continuously with the bailaor-bailarín.
Superficially, without seeing their facial expressions, the cantaores Juan
José Amador and Joselito Anillo; and Paco Arriaga on guitar. A great amount
of work went into the flamenco element of the music, superimposing palos
and making them roll. While the musicians were veiled in sheets of plastic, four
white lines divided fluid boards, with only three stage effects.
Moments: a solo
Isabelita por tientos-tangos, with Juan José Amador and Paco Arriaga,
in a personal tone; Amador and Anillo untied and reassembled the bulerías
with a string section, singing por romances; the continuous ménage
à trois of Fernando, Isabel, and Alicia forming couples; Arriaga’s
notes por granaínas, and a lone Fernando marking his ground to the
percussion; Juan José (favorite patrás singer) soared in
bulerías, and the cabales of Sernita and a dry minera
offered a more classic touch; Bach sung, spinning, finely tuned excess… and suddenly
they’re dancing as if it were tangos: in a heartbeat repetitive and concrete
music is brought in (I’m reminded of Israel Galván, who’s suffering another
"metamorphosis" these days) to heighten the final sensation that the
attempt to transgress aesthetics goes no further than simple metathesis. Sound,
when it changes places. In dance.
Luis Clemente
Translated
by Norman Paul Kliman
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