Arts
Flamenco Dance Performance tour
Pure poetry in scenography
Tablao by Increpacion Danza:
by Indeewara Thilakarathne and Ranga Chandrarathne
[email protected]
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Perhaps the zenith of the
performance was apparition of one of the ballerinas in a red
dress against a beacon focused on her. The dressed from below
the torso was tied up with three layers of crinolines of
castanets. It gave the impression that crabs were hung on to
each layer. At first, she stepped slowly but gradually assumed
speed. The theme of the dance was rather illusive. However, the
sound of the costume synchronized well with the dance adding a
mystic allure to the performance. The idea of weighed down with
the heavy costume was also conveyed in terms of rhythmic
movements. It created a surreal effect in an atmosphere of
mysticism.
Among many things, the
Flamenco Dance Performance by Increpacion Danza offered
distinctively the taste of rich Spanish culture. It should be
stated that the choreographer and especially stage manager
should deserve round of applause for creating truly Spanish
atmosphere.The troupe Increpacion Danza came into being in 1993
with the enthusiasm to conduct research on Spanish and Flamenco
dance. It aims at fusing traditional techniques with modern
aesthetic criteria and choreography of contemporary theatre. In
a way, Increpacion has expanded horizon of Spanish dance and
flamenco culture, transcending traditional constraints and
applying modern theatrical techniques so as to raise it to the
heights of creativity, imagination and innovation. |
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The mistic element in complex grammer of choreography |
Tablao, the Flamenco Dance Performance by Increpacion Danza which was
held at Bishop College Auditorium, to say the least, was spell-binding.
The colourful stage was centre-pieced by three chairs where sat three
ballerinas in diverse colours. Fans of different colours were in their
hands. With the effect of spot lights on the ballerinas and against the
backdrop of darkness, created the most surreal atmosphere which suited
well the performance.
At first the performance was rather indifferent with vocalist Alba
Guerrero's chanting voice dominating the air. However, the ballerinas
began to shake their slumber with slowly and slowly beckoning their
fans. At times, fans assumed the role of music instruments with rapid
closing, opening and striking them in rhythmic mode, over shadowing the
guitar. All the while they tapped on to the floor with their foots in a
beat which intonated with the changing passion of the performance. It
was nothing but the pure poetry in scenography
. Though the grammar of choreography, at first, was difficult to
comprehend, it became familiar with the changing scenes and rapid
gathering tempo never before witnessed in Sri Lankan theatre.
Until the finest moments of the performance, no one seemed to
perceive the sheer power of foot movements and rising passion that they
were capable of expressing in terms of rapid tapping on the floor. The
male performer, who came in the middle of the show, offered spectaculars
display in his quick foot movements, virtually crisscrossing the floor.
His lit-up costume in the pitch darkness showed the sharp movements on
the floor. As the auditorium in total darkness, the only object that
grabbed attention was the lit up costume.
Unlike in many performances, the lighting of the stage and stage
management had not been an eye sore. The set up was pleasing to the eye
and would offer the kind of atmosphere for the occasion. One feature
that captured imagination was conversation among the ballerinas in terms
of clinking castanets.
From time to time, they traded ironies, perhaps, about their lovers.
Though one may not understand the conversation, it was obvious that
vigorous clicking of castanets in an indirect manner conveyed the
increasing tempo of the conversation.
Spectators applauded although the conversation was not
comprehensible.While conversing with one another, ballerinas shake the
fans, making them instruments.
The item of baile flamenco was an interesting feature of the show.
Especially the footwark or zapateado with waving a colour fabric was
scenic excellence. Baile flamenco, though now assumed Western
characteristics, descended from Indian dance forms such as 'Bharata' 'Natya'
and 'Katak'.
The intricate footwork in 'Katak' is similar to zapateado in
flamenco.
However, Tablao flamenco is supposed to be originated as commercial
needs of restaurants and for tourism. By now it has become a fascinating
form of performing art and culture.Choreography and direction: Montse
Snchez, Ramn Baeza, Music: Antonio Martnez, "Nonon" Dancers: Montse
Sanchez/Ruth Garcia, Vanessa Domnguez, Helga Carafi, Nacho Blanco,
Original Music and Guitar: Antonio Martnez.Singing by Alba Guerrero,
Percussion composition by Nan Mercader, Stage design by Pablo Lopez
Bnuel, Wardrobe by Isabel Castro, Lightning and technical direction by
STEM and Management by Elena Garca About Tablao.
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