Light Blue Ballet Flats

First position, heels together, feet out, drawing a perfect line. The curtain opens somewhere behind those blinding lights, three people somewhere ready to evaluate. Dance is the hidden language of the soul "Matha Graham and Laura had said it had become his motto, I saw her dance that night I can tell you as it moved you could see clearly the light blue ballet flats that surrounded her. music started playing and before your brain sends the order to his arms, they moved with grace and constantly changing . . . fifth, fourth, second, balance, spin, jump, battmente petites, in a matter of minutes went all the stage. His feet were firm, even after many months of extensive practice in that left bloodied and bruised. We both knew that pain was so much demand and a price that we pay for success. He jumped majestic and time seemed to stop there for a few seconds. At that time anyone else would have screamed with fright when they saw what was happening, but no one here was surprised. Let light blue ballet flats shine on stage just stay the fragile body of Laura, who stood stiff and cold in a corner.
Then whisper a song in Italian: "Sleep is a second life. This night, home alone. " A lady of the seventeenth century, with hood covers the sky from the heights. The song goes on. Silver cow heads down, made of mirrors, like a disco ball. Later, the blue girl suffers an orgasm in German. Centripetal and centrifugal force prevents him from following. Rather, the law of gravity pushes it down. Boys appear in white slip. There is risk in the scene, anything can happen. One of them has a headache, you want to wake up but your headache will not let him. We see a duet he-she. The steps in the quiet sound of music, at their own pace, everything is timed to happen that way. Pablo Rotemberg whom we have seen in 2008 as a choreographer and performer of The Alexander sensual Tantanian lei again use the occasion of the beginning of this work to give a new meaning, but not without violence. The bodies are up to their peak. Attack one another, fight, fight, torn between love and strength. They try to break their own limits. Violate, attack, fight. The costumes of Gabriel Fernandez seems simple but it is reversible, removable and very contemporary. The lighting by Alejandro Le Roux acts in conjunction with the scenery to make room for the bodies. But not only against others but the issue of migraine is not allowed to continue and immersed in the most horrific nightmares, with the old lady, who shows his face, and take to the heights. With respect to Stekelman we can say that it is a neoclassical light blue ballet flats fantasy, telling moments in the life of Chopin and his ghosts, set in 1920 (Chopin lived in the nineteenth century). Figures appear as Harlequin and Columbine in the Commedia Dell Arte, which suffered torment the Chopin. The choreography is rather cold but the technique is perfect. They are pictures, as daguerreotypes, aided by the excellent scenery and costumes by Renata Schusseim, lighting by Alejandro Le Roux indicates the passage from one scene to another. Featuring characters such as Schumann and his wife, Clara. A delicate "pampers" dance number in a light blue ballet flats sepia. The key is a key to the imaginary characters to the real steal. For a unique example of a woman's wardrobe goes golden queen. Caen ghosts, there are veils over them. He saves. Very good lighting that accompanies all the musical phrases, and varies accordingly. The scores are taken by the musician, that spilled across the floor, in a moment of insanity. Become the "spoils". The faces are made-up as in the silent era (1920). With regard to distant light blue ballet flats (2003) by Mauricio Wainrot, we will devote only a paragraph, because the Teatro Alvear had a problem of low voltage and the function was interrupted twice. The dancers, an icon of professionalism, restarted twice the ballet. There are six dancers and six dancers. Their technique relies on chairs, which denote the forced exile by the economic crisis of the early twenty-first century in our country. There is a stylized tango. Martha Graham Technique, and pirouettes of classical technique. Monumentality and virtuosity. Ballet group, bodily skills. The function I attended was at the Teatro Presidente Alvear Theatre Complex of Buenos Aires, Av Corrientes 1659, Sunday December 7th, 2008 at 17. The blackest night, was for me one of the most stunning choreography of the light blue ballet flats of San Martin. More than a year later is still alive in the retina of my eyes and my heart. . .
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