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Acosta Danza Pursues a More Contemporary Line in Cuba

The company directed by the dancer Carlos Acosta defends today a more contemporary line in a season that sets world premieres of Cuban choreographers with works of Spanish creators and an American.


4 de marzo de 2017 - Taken from Prensa Latina

The company directed by the dancer Carlos Acosta defends today a more contemporary line in a season that sets world premieres of Cuban choreographers with works of Spanish creators and an American.

The most simple of the premieres, the duo Nosotros (Us), from the Cubans Beatriz García and Raúl Reinoso, has the live performance of the composer José Gavilondo on piano, accompanied by the cellist Alejandro Martínez, but discursively runs the same path as other duets.

Nor does the Cuban dancer Ely Regina Hernández reach an own speech in Avium, where like so many choreographers in the twentieth and twenty-first centuries, she addresses the human obsession with birds, a source of innumerable myths.

The desire to conquer space, to reach where the human body is not allowed by nature, clinging to the earth by gravity and lack of wings, another yearning of earthly beings, serve the young dancer to talk about natural cycles in life, regardless of gender.

As a success, the costume design is in charge of homogenizing the dancers, but although at the beginning of Avium the creator seems to want to break with the ballet, he delivers the ending to the classic Cuban versions of La Muerte del Cisne (The Death of the Swan), the choreographic miniature of the Russian Mikhail Fokin, which is performed all over the planet.

Birth, individual development, pairing, belonging or identification with someone or a group, and death, could be approached without resorting to the myth of the bird and to the cliché piece of Camille Saint-SaÃ'ns, used in 1907 by Fokin to construct the solo that immortalized Anna Pávlova.

The third premiere of the season, Twelve, by Spanish Jorge Crecis, combines elements of sports and mathematics, at the risk of seeming at times like a game, an experiment or a circus.

The piece consents to choreographic flexibility because it is impossible that every day the 12 dancers get to catch in the air two dozen plastic bottles that are launched almost constantly during 20 minutes, in angles that cannot be exact in each performance.

In this way, Crecis plays with the emotions of the public and the dancers themselves, although for some scenes there is no need to know how to dance, inside this country a lot of sportsmen and circus artists would do wonders within that work and the same concepts.

The program entitled Tercera Temporada (Third Season) included the revivals of Alrededor no hay nada (There is Nothing Around), by the Spanish choreographer Goyo Montero on poems by Joaquin Sabina and Vinicius de Moraes; and End of Time, a neoclassical lyric work by the American Ben Stevenson with music by Serguei Rachmaninoff.

In addition, they presented again Babbel 2.0, by the Catalan creator María Rovira and an original score by Salvador Niebla, a work specially created for the company Acosta Danza.

The group, founded in 2016, will dance again the aforementioned program in the room García Lorca of the Gran Teatro de La Habana Alicia Alonso tonight and tomorrow March 5.


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