Our body movements have a language, although we don’t always perceive it. Movements of pain, movements of pleasure, movements of joy… When it is scheduled in the choreography, the communication code strengthens the interaction between members and the gaze of others, that is, the interaction between members. … Just as music distills the essence of sound, and literature distills the essence of words. From this base Aimar Pérez Gali begins by recreating poetic and musical forms and genres in his show “Alba”. flower market Sonnets, palindromes, sestinas, fugues, and phorias are translated into the movements of dancers and taken to the stage.
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music:
A. Perez-Galli, H. Villamara. -
Performers:
A. Pardo, I. Zapata, N. Crespo, T. Libertad, V. Pérez Armero, dancers. H. Viramara, piano. A. Perez Galli, director. -
date:
November 7th. -
place:
La Llotia, Lleida.
Pérez Galli explores the relationship between writing and choreographic language, drawing inspiration from syntax, literary and poetic composition. So, Metrics set the pace As step-heavy as the music is, the rhyme structure is a repetition of certain gestures. ABBA ABBA CDC DCD etc. The same applies to the four-part structure of Bach’s fugues, for example. The choreographer distilled all that theory into something as mundane as an Excel spreadsheet as a prelude to turning it into the stylized gestures of a team of dancers. The result is A deeply poetic, introspective and intimate show.
Minimal in appearance but generous in emotion, “Alba” is an ode to freedom of expression and collaboration in dance. A far cry from millimeter choreography where every dancer evolves at the behest of a director, let’s call him a direct leader or sergeant. Each artist has space to contribute. The scenery is very simple but effective. A yellow triangle on a white floor moves from one side to the other. In the corner was a piano played by Hugu Vilamara, the author of the song along with Perez Galli himself. In some cases, dancers are added and perform with four hands. In other cases, he joins the company, so everything flows completely naturally. Framed between a palindromic prelude and epilogue inspired by minimalist composer Tom Johnson, it weaves together a series of scenes, each inspired by a different meter, sound, and form. In the case of fugues, Bach-like musical filigree, like the works of the genius Eisenach, inspires choreography that is at once complex and delicate, requiring as much discipline as creativity. Based on the poem by Maria Merce Marsal, the sestina “Mai” combines simplicity and beauty at the same time. Every small part of the assembly requires detailed comments.
“Alba” is therefore a moving text that not only makes us think, but also looks at ourselves and fascinates us, almost hypnotically, with the evolution of the dancer on stage. how did he protect susan sontagsometimes, in fact almost always, it is worth stopping the interpretation and looking for the meaning of each step, each clause. Just enjoy what you see. And thoughts are born when the mind is already vibrating with some form of art. This is what Pérez Galli’s production takes us to, the day before he had given a solo lecture called “Sweat in Discourse: Disembodied Criticism.” Morera Museum This facility is the center of the cultural efforts of the city of Lleida and houses a very interesting permanent collection.
It is claimed that dance in our country came to have several influences strangeconsidering how much we have abandoned this discipline. This adds an essential benefit to the work of any company that is able to sustain itself despite the difficulties, be vulnerable, and bring an “Alba” level of work to the stage. I hope that one day we will see how dance can take the place it deserves in our programming, media and government budgets.
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