April 19, 2021

A 'trockadero' with drama | Culture

A 'trockadero' with drama | Culture

With just five shows of their own behind their backs and a multitude of other stage works, Manuel Liñán (Granada, 1980) He has shown that he is wasting talent and creative vocation. His palette moves between the formal search of contemporary character and a thirst for culture of his own specialty, look at the past, recreate it and even manipulate it in search of his own product. The past is a source of topics, not a slab; the tradition is a rainbow from which to extract pigments to mix them with another arbitrary and towards another plastic one.

The first impression of Live!, work where seven men of office give life to seven imaginary bailaoras perhaps atemporal but perfumed by yesterday, is that we are before a Ballet Trockadero to the Spanish. In a certain sense, this is true, but if the original "trocks" move away any tragic incident promptly and decisively, in Live! the drama is a clear presence from the first scene. There is a lot of humor, a lot of irony and a lot of fun, but always in the margins imposed by the director-choreographer for his evocative purposes. Is not a trockadero In any rule, but it's the same, although with Liñán it sometimes swallows dry.


Choreography and direction: Manuel Liñán; Dancers-choreographers: Manuel Betanzos, Jonatan Miró, Hugo López, Miguel Heredia, Víctor Martín and Daniel Ramos; music: Francisco Vinuesa, Víctor Guadiana and Kike Terrón; lights: G. Montesinos; Costume: Y. Pinillos. Teatros del Canal. Until February 10.

There is dedication in the way of transvestite dancers, not always with success, but in general with pleasure. The curtain of metallic fringes brings the situation and the atmosphere closer to the cabaret. This can lead to misunderstanding; in any case it would be "the cabaret of life". The tradition of transformism in flamenco comes from old; there were even itinerant groups in the twenties and thirties of the last century and there are testimonies finisecular with spark and wit. Recently, José Antonio Ruiz was in his last stage in the National Ballet of Spain who, in his recreation of the Café de Chinitas he included a transvestite character that he elaborated for himself with detail and character, and that was not fully understood and accepted. A few years have passed and today the reality is different, everything is much more relaxed and the audience that filled the red room of the Teatros del Canal verifies and attests.

There had been no applause and cheers for years in a Spanish dance work. Enthusiasm touched the Roman circus at times and that ended with everyone standing, with a final of revelry more than questionable. The work will have about 15 or 20 minutes of footage to round off all its positive impact, and there is a clear ending earlier when Liñán himself looks at the empty suits, like silent quilts, as testifying evidence of a tragedy. The additional performance of the boys taking off the wigs, the fillings and the eyelashes is optional, it may or may not be, but it is not the case to judge it. Of course, the strong imprints that drag these beauties of tablao vernacular are sometimes quixotic, other tender creatures without shelter: it is not life but its Chinese shadow. The sung verse: "The ladybug combs …"It returns fresh to the memory of the spectator as a lapidary hymn: they are not for jokes who seek their place in the middle of the jungle of incomprehension and rejection, who have suffered ostracism, mockery or violence. And in the thread of this, it does not help too much to this idea of ​​very pure graphics to forcefully create a claiming connection "queer" The mania of ideologizing everything drags the ultimate meaning of Live! and there is even the risk of trivializing it. It would be unforgivable, because it is clear that a political commissar is not necessary, they are political stage entities in themselves, with their own strength and their own voice.

The gown of the tail (polka dots had to be), that for Liñán is more totem than fetish, it is left for the end in a choreographed painting, with other rhythms, in the manner of the National Ballet Snails: a happiness by throwing shawls and faralaes, fringes and caireles. A demonstration of luminous power, almost without nostalgia and looking gallantly forward. The ghosts of several great dancers-dancers overfly the whole show, almost quoted and identified with flashes of pantomime and broken turns. Liñán is the best thing that is happening to us in the critical moment that Spanish dance and flamenco ballet live.


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