From the hole that Pau Casals room keeps for the organ to the front of its stage and even the seats of the audience, everything in L'Auditori is filled with dance this week, with the family project that choreographer Antonio Ruz (Córdoba) , 1976), National Dance Award 2018, has been carried out with the OBC and Ravel. Specifically with the suite Ma mère l’Oye , Cinq pièces enfantines that Ravel first wrote for four-handed piano (1910) and then orchestrated and later transformed into ballet, with choreography by Jeanne Hugard. Well, this piece that is inspired by French tales compiled by Charles Perrault is the musical material on which Ruz has created a choreography for six dancers, all of them graduated from the Institut del Teatre. Also the musicians of the orchestra play their role, and in the final minute even the public is involved, both the scholar, who fills the six matinees of this week in L'Auditori, as the family member who can see him tomorrow Friday (7 pm .), after viewing the tutorial that the room has posted on its website so that everyone goes in unison. "You get goosebumps when you see the whole room raised, moving your arms to one side and another …", says Ruz, perhaps the most enthusiastic choreographer of the punished Spanish dance scene. His company, founded in the midst of crisis, does not know the discouragement. Crossover creator, has made a place in both dance halls – his success Electra With the National Ballet of Spain, he continues on tour – as in classical auditoriums – he plans to set up at the Palau de la Música with Núria Rial and the Accademia del Piacere – or in museums. Without going any further, the University of Navarra proposes that you be inspired by its photographic background of the s. XX. The result is Transmutation , and a couple of Catalan dancers, Albert Hernández and Irene Tena. “I already worked a long time ago on the relationship between dance and movement with architecture, and then with sound, with light, with texture, so that the public has other experiences beyond the scenic”, explains Ruz. “As a Guest of the company Sasha Waltz & Guests, who are people who orbit in some of their creations, I already collaborated with important architects, I did projects in museums, in churches, outdoors … I almost feel responsible for Look for dialogues between dance and the rest of the arts. Well, the Spanish avant-garde was already like that, but today the cultural systems do not help this to happen. But I am very stubborn, I insist, and in the end the path I take makes these projects come out. ” The most ambitious, right now, has been raised by the Juan March Foundation in Madrid: recreate a ballet by Robert Gerhard that did not premiere, as World War II broke out. Its theme was the night of Sant Joan and it was ridden by the Ballets de Montecarlo de Massine. Ruz picks up the glove of this challenge that the Liceu, for its part, could host, or even co-produce, and outlines it with seven dancers and a pianist, also projecting Junyer's sets. "It is a conservation project, to value our musical, choreographic and artistic heritage of an era that was so beautiful," explains the Andalusian dancer, who put on his boots and castanets throughout his childhood. Ruz traveled with 16 years to Madrid and trained in the classic in the school and the Ballet of Víctor Ullate. He then flew to the Ballet of the Grand Theater of Geneva, where he was given the opportunity to choreograph, and spent two years at the Opera Ballet of Lyon dancing the entire neoclassical and contemporary repertoire: Jirí Kylián, Mats Ek, William Forsythe, Trisha Brown, Sasha Waltz, Philippe Decouflé … or the French non-Danse. After which he had a fleeting step through the CND of Nacho Duato.
The Liceu would host the recreation of an unpublished ballet by Gerhard that the March Foundation has entrusted to Ruz
“I spent eight months, but I left her and went to Berlin, to work in the orbit of Sasha Waltz. Duato was more demanding at the formal level, but at the stylistic level it was a setback, because I came from dancing everything. It was also a turning point in my career. I had been injured and I decided to go towards a more expressive and creative dance, less physical and virtuous. Today my dance flees from righteousness and frontality, plays with space, rhythms, musicality and silences, ”he concludes.