Art inspired by art. Here follow choreographies originating from other artistic creations.
Art inspires art. Dance looks to the sides, to its neighbours in theatre, music, or painting, and even behind, to its history and origins, to get inspired and to transform consolidated classic pieces into new ones. This is an authentic trend, and to prove it, we have included five Spanish groups who have (successfully) practiced this in their new creations.
ONE. LA VERONAL AND SURREALISM.
When the Loraine Ballet ordered a piece by the prestigious Valencian creator Marcos Morau in 2016, what came to Morau’s mind was the life of Luis Buñuel. He portrayed the contrast between Buñuel’s birth town, Calanda, with its noisy Easter drums, and the Bohemian, vanguard Paris where Buñuel lived and his cinema flourished.
This idea developed into the great success Le Surréalisme au service de la Revolution. Likewise, the idea was also the point of departure for the short piece Sonoma, the latest creation by La Veronal, premiering the summer of 2020 at the Grec Festival. In his new work, which has a surrealist touch, Morau remains true to this kind of visually suggestive aesthetics and scenic setting; something that has always characterized his creations.
TWO. TAIAT, SCHLEMMER AND MAN RAY.
Meritxell Barberá and Inma García, directors of the veteran Valencian group Taiat Dansa, have always had a soft spot for the twentieth century vanguards. In fact, their most recent work has found inspiration directly from two of its greatest revolutionaries. Firstly, the starting point of Tres [Three] comes from The Triad Ballet, the most famous scenic creation by the legendary Bauhaus researcher, Oskar Schlemmer. Tres is a work in which Taiat Dansa offers a re-reading of this revolutionary creation with a contemporary vision. Taiat has counted on the assistance of the prestigious international choreographers Ismael Ivo and Rachid Ouramdane. Secondly, there is Man Ray, a visually suggestive play in which Taiat focuses on the, at times reprehensible, relationships the famous photographer had with his many muses.
THREE. KOR’SIA AND GISELLE.
Mattia Russo & Antonio de Rosa, directors of the Madrilenian company Kor’sia premiered in 2018 with their good-natured version of Nijinsky’s La siesta del fauno [Faun’s Afternoon Nap]. Later, in Jeux/Nijinsky for the Ullate Ballet, they retraced the Russian creator’s work. This time they explored the configuration of a new morality at the beginning of the twentieth century. It can therefore come as no surprise they have now decided on a revision of Giselle, the emblematic romanticist ballet. This decision gives continuity to their research into the academicism beyond their own time, and asking pertinent questions in our historic moment about the belief in the existence of true and pure love, when even science recognizes it in the broken-heart syndrome.
FOUR. YOSHUA CIENFUEGOS AND MOZART.
For the twentieth anniversary of his company Cienfuegos Danza, the Valencian choreographer Yoshua Cienfuegos gave in to the beauty and solemnity of Mozart’s Requiem and converted it into his celebratory choreography bearing his own special hallmarks. Nine dancers, a string quartet, and an actress join forces to stage this creation.
It brings death to the forefront with direct references to the troublesome historical memory of Spain. With references to flamenco, Mozart’s masterpiece is heavily modified to suit the interests of this choreography. It is one of the most ambitious creations to date by this Valencian group.
FIVE. INÉS BOZA AND MIGUEL DELIBES.
The Ballet Contemporáneo Burgos [Burgos Contemporary Ballet], directed by Alberto Estébanez, joins the pomp and circumstance of Miguel Delibes’ 100th birthday with their new production MD soy como un árbol [MD I’m like a tree].
The idea and behind this proposal and its set-up are the works of the Catalan choreographer Inés Boza. In the 90s she was running her own company, SenZa TemPo. In her new creation with the Burgos group, her point of departure is the fictional work by Delibes. In a mix of dance and theatre, she places the action in the writer’s birth town Valladolid, but reinvents it as a kind of Macondo (the fictional town in Gabriel Garcia Marquez’s novel One Hundred Years of Solitude). The set-up respects Delibes’s maxims; you write as things are and describe people as you see them, with their unique and unforgettable traits.