In the previous post I talked about the possibilities of the body, that's why I brought this piece. . .
(Source: http://www.creatio300.com/es/roni-chadash/)
It is a piece of Contemporary Dance called Ani- Ma, personally I loved it. It is the first solo piece by RoniChadash, it is by her authorship and interpreted by herself. This piece was under the scenic direction of Sharon Fridman, OdelyaKuperberg and ShlomitFundaminsk, with music by MikiPatish, as far as the light design was YoavBareldichay in the video record the managers were Carmel Mashiach and YinonGutman.
This piece with a duration of fifteen minutes and thirty three seconds, shows a very balanced and successful aesthetic that achieve, that each of its elements (light, sound, body) are related, creating between genuine forms and sensations, that in sight and in the ear they seem strange but always. The body adopts extra-daily postures that invite you to readjust, to blink, to make an exhaustive examination of what you see.
Music is a frequency of highs and lows, of more serious than acute, which are singularly related to many of the corporal forms that the dancer adopts. Characteristic sounds are presented within this musical composition, such as car sounds (cornets, when switching on, among others), voices sounds, which involve the viewer to feel more, but at the same time the voracious movements are not strange to them.
(Source: https://goo.gl/Ead4xe)
The little light and smoke, give a dark scene, where very rarely you see the face of the dancer -the whole- illuminated and in doing so the side and front lights meet this. That is, it is a being and not being.
The body and its movements: the body diluted in the ground, the body defragmented, the body that no longer knows if it is body, to forget what it was and that is where that search begins, that body construction, where the defragmentation of it to the construction of others. Well, if we take up the description of the fragment of Fernando Pessoa (poet): "I try to undress myself of what I learned. I try to forget the way of remembering that I was taught, (...) ", all this is accurate, but, there is an aesthetic in the movements, where that body construction at certain times can be assimilated to animal forms, as happens in the beginning , where it looks like a caterpillar crawling on the ground and at the end shows its face; but in the middle of this piece you discover that perhaps it was not a caterpillar but a beautiful cobra crawling and that now it is stealthily dissolving on the ground and looking for other ways to build its body. Although in the end, it ends up being a collapsed body, which is in a state of instability and acceleration.
Undoubtedly, this piece requires good body work. Since in these constructions of the body, the dancer uses each one of its articulations, of its extremities, achieving beautiful contortions and even exaggerated gestures in the face. Also the contractions and the displacements made are deviant, taken from the everyday to the extra-daily.
AniMa is nothing more than the abandonment of the body and the construction of one.
If you want to see it, here I leave an extract of the piece, which lasts only 2 minutes and well ... :)
