another year, comes to Madrid this showcase of the most innovative and less conventional European landscape Performing Arts: FESTIVAL SCENE CONTEMPORARY , where 11 th Edition , an event which I hope will not take away never grant, given the carnage to which the culture is subjected to cultural policy. .. Opportunity to see some of the names that have headed and blunt or already in another context would be no easier to see in the lineup here. These Vera Mantero, known choreographer of that neighboring country that is my favorite jewel, Portugal, offered last weekend, a diptych composed of two solos: "Something mysterious, said eecumings *" , 1996 (which should take forever bowling) + "What we can say of Pierre" , premieres, and, I understand, commissioned by the festival. Action taking place in the
"The spirit that I speak not want to abolish the body, not ashamed or his or her desire sex, this spirit wants to eradicate the rudeness, the terrifying stupidity, ignorance, poverty of horizons, materialism, etc, etc ".
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Vera M. one of those names is very interesting, with its own language, within the field of culture that is contemporary dance, where closer to the action, the performance , all the result of a maximum : the openness and freedom to explore new elements - that in this post I intend to see through and collect -. This little known even in Portugal respected and adored in equal parts by actors and performers, their ability empathic gesture and stage charisma (he has always devoted much of his career to teaching and research). In my times of Lisbon, I was able to see at least twice in the Festival Alkantara , even in that collaboration with the sculptor Rui Chaves in CCB, sample of multidisciplinarity . A scene attitude, that is precisely its parts, with a closeness to the performance by the extensive use of time / tempo , unity of action ... Personal pieces in which Vera creates a certain closeness to the public, a situation somewhat tight, with no license MnAs dramaturgical everyday life, the natural to the fourth wall and intention: to conduct an experiment: development of an element from which, something always very small, until it becomes large, kneaded like a ball, a tumbleweed , but how far is predictable. Something everyday an attitude that, through repetition, insight, the search ... is becoming ever more complex and thoughtful. There is a character created on which to project a narrative expectation, as often occurs in what we call "drama of the scene, but a person, a subject she, quite apart from other meanings, giving freshness to a gesture-action .
In the first proposal "EE Cumings SAID SOMETHING MYSTERIOUS *" _ Vera -up, with a monkey which conveys a naked body, paws / hooves horse like a centaur. Rigid and tight, as output of a "Creamaster" of Matthew Barney under a light bulb takes, as the words also evolve, a corporeal, a development that (if it were to convene visual models) would approach, increasingly, to a minor character in a film by Luc Besson : In the photo that strange, sophisticated and dehumanized opera singer "The Fifth Element" and Vera in this tribute to the singer Josephine Barker , coming increasingly eccentric even to sing what was barely a whisper, almost a question. Uma is (fall) ... Vontade uma (will) ... uma ilusao (illusion) ... 
At first, he says as if seeking the intention, the right tone, almost as an act that seeks to character, the final constructs them gesture logical sequences . Gestures invented, endowed with great expressiveness, undoubtedly the most under-stage reminiscent Marta Carrasco (o.. Vera would rather between .. Jerez Cuqui ..., and Pilar Albarracín ? for that kind of conceptual humor), insisting that the style and intention of Vera Mantero is unique. 
Staging-shot sobriety in contrast to the baroque visual, gestural and vocal of the only figure who live there, "he recalls, in line with Besson, a this movie plays with being dumb that Isabella Rosellini in "The Saddest Music in the world" of Guy Maddin . or the strange and sophisticated woman with no face of "antenna" of Esteban Sapir. Examples are, in fact, previous layer of a great image: the woman / heroine appearing in the top of a staircase, Metropolis of Fritz Lang and that Great Floor Plan in its total dimension of drama that has become iconographic and studied at all levels technical manual. There is also something that reminds me of that beautiful work of Maya Deren's prolific : "Into the Mirror" (one of those key pieces as "The jetteè " of Chris Marker that, without conventional films are part of the * The second proposal, "What we can say of Pierre" , Vera Vera 100% : dressed comfortably, without characterizing, in rehearsal clothes, room lighting, particularly apparent normality. However, probably much more complex, although its elements are not a priori . As a piece danced seems easier to categorize, when the background is a genre invented: Then begins playback of an image on a screen in the background. The choreography, the tempo exists only as a bodily-gestural response to that image: a recorded voice, that of Gilles Deleuze -authored a book for me on mythic narrative: "The Time-Image" , I remember with affection, referring to his thick- Espinoza, about immortality and eternity. Gilles spoke in French, the screen is black, the white subtitles in English, is actually a non-image that projects throughout the course. The funny thing is that at first the viewer feels the need or considers important to understand the text But little by little, Vera is going choreographing / Dance / interpretation, so that the text becomes algpo on secondary, just the music (quality) of its movements, is a reversal. It's like a choreography for camera on the contrary. It has stripped the text initial value transcendental, words, and it only keeps the music, part for the whole, the tone , the murmur of a voice ... and when we fail to hear clearly in the doze and got no distinguished from each other but we listen to a thread. Unreadable if it is understood according to the "measure ( messure ) communication, words, because in this case the aim is to make music, soundtrack for a fantasy created, which is somewhere between naive and lewiscarrollniano .
Here are some of the work in progress , which is improvisation (another of its strengths) and the curious effect that creates
The point is that Vera always knows how to do something it is interesting to note, and how the viewer is always grateful couple, prefer to see in this type of work, "guts" how something is born / created, develops and turns out badly. The monologue as I ; the presence, physically, that spontaneity as the base, with its expressive, searching, relationship with the words, a reflection on contemporary society, the in-communication, etc. How when something is out of context can be granted, giving a new meaning.
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