The first scene of this’Pineda‘with which Patricia Guerrero He has begun his journey at the head of the flamenco ballet of Andalusia (and with which the curtain of the Matadero dance center) is a statement of intentions. … The ‘popular romance in three prints’ that García Lorca He dedicated to a figure that obsessed him since childhood – Mariana Pineda – takes shape in a dozen women who make up paper sitting sitting in their enea chairs. They are a choir of women from Albaicín who take the place of the girls that the poet imagined and that give porch to history: «Oh, what a sad day in Granada, / that the stones made crying to see that Marianita was dies / in Cadalso for not declaring!
Mariana Pineda It is one of the great Spanish romantic heroines, a symbol of the force of love and the desire for freedom that aroused in Spain of the second half of the nineteenth century. García Lorca stumbled upon his statue in the center of Granada and dedicated his first play: «In ‘Mariana Pineda’, the voice of the town prevails -said Federico García Lorca -y, under the invocation of the old romance, Between discrete verses and romantic overflows and exaltations of people who by a freedom put into play, life, moving from the deaf to the very strong, to say, which is where the tragedy that I have felt as I have wanted and I have wanted is.
There is an obvious Lorquian perfume in the staging of this ‘pineda’ choreographic and an unmistakable popular flavor, but no trace of misunderstood folklore. Patricia Guerrero, Granada as Mariana Pineda, is a flamenco and contemporary creator, how could it be otherwise; His choreographies -enriching by Alfonso Losa, Eduardo Leal and the duo The coming– They are acidic, dramatic, and at the same time intimate and poetic. There is a tear and shout in the coral scenes, and passion in the steps to two (only one but in this choreography: the scene prior to Mariana’s climb to the chain, with a change of costumes in the same scenario of Patricia Guerrero herself that It is not technically resolved, and that the great rhythm that the show has for a few moments).
Poetry is not lacking, indeed, in this staging, which starts from a dramaturgy of Alberto ConejeroLorquiano confessed, who wanted to continue without deviating the false of the original work. And if other adaptations of the work have put their focus on the adventure of the Granada heroine and in its love relationship with Pedro de Sotomayor, the liberal captain, and of struggle with Pedrosa, the mayor of the crime of Granada, the Ballet version Flamenco of Andalusia accentuates the presence of the people of Granada, as a witness, as the companion of the protagonist, as the very protagonist of the story. A story that does not end with the death of Mariana Pineda in the vile club but transcends in time: a white Mariana who emerges about death. Music, lights, scenery and costume make up an land frame that endorses the popular character that the Granada creator wanted to underline in this work.
As an interpreter, Patricia Guerrero has the inner strength that Mariana Pineda needs; also his charisma. She is a dancer who knows her trade well, with a magnificent technique that makes her dance always sunny, through her arms and perfect taconeo. Alfonso Losa enters her character, hard, sullen, arisco, relentless; He does it through a dry, temperate dance. Eduardo Leal (also a company repeater) brings his elegance to the character of Sotomayor, and the flamenco ballet dance body of Andalusia completes the magnificent interpretive level of this show. The first step of the new Danza Matadero center could not be firmer.
#pineda #flamenco #contemporary
