Again as one of the few spaces that give room for contemporary dance in Pradillo Theatre, dance is not dance, you are looking for other references, which seems to take over other sides. Dance catching a frog porcelain garden, sprinkle powders ... Dance has taken a new direction and that is something that must be accepted.
And as usual you are the blog that you are music lovers and movie buffs but I usually care less scenic and is far removed you dance, invitaos again ..
On the one hand, Janet (Novas) always evocative, almost inherent sensuality, feminine, bewitching, on the other, has a presence and a very strong expression on stage, something physical, very masculine, stripped, with no room or space for seduction, visceral, distorted. In this duality, their jobs, at least those I know, always have some slow digestion, passivity and violence, internal tear, an anti-narrative logic closer to the performance , looking for 'that something uncomfortable', arcade, moments and images combined with a peculiar beauty, something intimate ..; with other aggressive, violent, or just weird. Moments like the position of a frog about to leap, experience physical moments, not daily, like a kind of 'Via Crucis' invented sequences and transition states, which is regenerated, that even sometimes leaves room for some humor. A strange mixture of reality and fiction, with elements taken to the limit, and a conceptual whole, making something that was serious and dignified stupid little things, but never to the evidence or to take anything important.
Here is a journey through objects. Frog ceases to be a stupid frog porcelain grandmother might have on the shelf or in the garden and becomes the imitated element in the rate of breathing, to adapt and adopt a gesture, not a stupid act but as a behavior animal, without more, for no apparent reason or another beyond their own momentum. In my opinion it is decontextualized, loose, the frame element, which may contain any image you want, which responds to the whim and mood of the stuffed ...
At first it seems disjointed, a kind of iconographic elements scattered: many frames it with a red party dress are placed cross, like a tape of Miss Universe , places them in the wall and is riveting, a pretty picture: a new role for women, which makes a DIY action without it being something domestic. After sometime I do not remember what or why, Janet in any action reminds me Rebecca Horn across the field in that hat cone, an almost iconic image. The piece begins to seem interesting when for several minutes during which systematically repeated out loud until the rolls, makes absurd, almost a joke, an awful sound, and how she then leaves that something extreme, hoarseness and shortness of breath-taking another reference almost comical how the bonds, by 'sound like' : the kung fu , martial art which leave ko someone but this is a single, a she with her, no characters to interpret. In any case she is by piece / performance is a relationship, a very narrow sense with the sound, the vocal element, with surprise, to look for gestures that could correspond to the memory and the memory ... the 'dregs' gives us a song, the ability to recreate, to hum even without all the notes, with the blurring of memory, filling the silences so imperfect. In that great sense that kind of catharsis, climax dedicated to "Cry Baby" , if I recall correctly, the great Janis Joplin , which is always a pleasure to remember and that someone celebrates the woman he was ashamed to spend a night at the Chelsea Hotel the best of Leonard Cohen, the elegant and eternal Master, perhaps too wild, unmannerly, impulsive, living every moment, every note as if it were the last ... A wild beast tamed, the woman who seems to embrace when sings with such a huge stream of voice, dual, masculine with their cries and whispers, its beauties and its tears. After that euphoric moment in which Janet 'janisjonipliniza' , without being only for the song and then leaves huge void, a strange new phase of 'Via Crucis' ... gold dust is sprinkled on whole face, perhaps to new and effeminate 'desjanisjonplinizarse' but excseo contrast and, as Cleopatra, nearly blinded by her own trick beauty, extravagance, the light effect, leaving the rest to the same level: the rest (your body, frames perfectly hung, ...), frog reminds me of the snake replicating " Blade runner " ; Later attempts to shake them off, new records of movement looking how to get rid of them, the mask, but it's too late, no longer are stuck with their own sweat. "Face painting, jumping frog and other small stories" , though not intended, or even seem relatively simple, reminds references very different, and once again left in a sort of bed in the background to the dance, as a wildcard, as the princess pea feel even if by means other things, a link created, but not fed, no more than account, not in excess, to recreate or to please ... Anyways Novás Janet runs the risk of creating this little world not to give personal and all keys, all accesses to reach it, or not to everyone, which sounds like a contemporary view, probably the only one: to be consistent with the elements fetishes or fetishes oneself according to their circumstances' (because that is, today, to create) and because the elements of common tastes, including 'common areas' are now very few. A practical effect in any case the whole may be accused of a danger of disrupting 'the most pleasant feeling that we have, to see a situation that does not meet scenic conventions' with pauses between each scene , which should be spun. But I liked it, especially hours later, that something transboundary.
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