Israel Galván “Tábula Rasa”
Sunday, September 17th, 2006. 9:00pm. Teatro Central.

Special 14th Bienal de Flamenco de Sevilla. Reviews, programa, photos...

Text: Estela Zatania

Dance:Israel Galván.
Cante:Inés Bacán.
Piano:Diego Amador
.

It’s only been two days since we saw “Arena”, the previous work of Israel Galván, holder of Spain’s highest dance award, professional genius and dancer. “Tábula Rasa” might have been easier to swallow had there been more down time between these shows, because Israel is not easily digestible. The thing is, something’s wrong with this show, and it has to do with the artistic experience from the point of view of the spectator. Having seen this work now for the second time, and having arrived at the theater determined to keep a wide open mind and enjoy the sincere efforts of one of the country’s most distinguished artists, I regret to report that for the writer of these words, “Tábula Rasa” is still a work that was taken out of its creator’s mental oven way too soon before it was finished cooking.

Danced theater

In the press release early this year, much was made about how Israel would dance to the “auditive memory” of Diego Amador’s piano and the voice of Inés Bacán. Because that’s just what “Tábula Rasa” is: a mini piano recital, a mini cante recital without guitar and then Israel, all by himself, moving through time and space with neither guitar nor voice nor compás as it is known to man. So, being an obedient sort, I spent the first hour making a very big effort to remember the sound of the piano and voice – wouldn’t want Israel to dance without accompaniment! But when the dancer finally arrived on stage, the silence immediately, and with brutal efficiency, erased all the music that had gone before. I swore to pay more attention next time. Last night’s program notes however failed to mention anything about “auditive memory”, and I read: “An artist leaves the stage full of his tones, forms, gestures, aspirations, inspirations, expirations. Upon these echoes, the following artist contructs his inspiration”. I was suddently invaded with the feeling of having been intellectually raped and took note then and there to follow my own advice and never again read program notes. Back to square one, or as the Latins used to say, “tábula rasa”.

A rundown of his famous postures and moves which have opened a universe of possibilities for the new generation of dancers.

In this context then, Diego Amador and Inés Bacán are opening acts. If Pirandello’s existential play “Six Characters in Search of an Author” is based on the natural incoherence of life and the lack of any script, “Tábula Rasa” is “A Dancer in Search of a Show”. What’s the difference (you ask) between this work and “Arena” or “Edad de Oro”? The answer comes swiftly: compás. That absolute center of attention of any flamenco happening is absent, and we observe a human being moving freely about a stage, without so much as the most rudimentary rhythmic pulse. Danced theater.

Israel’s performance in “Tábula Rasa” is a rundown of his famous postures and moves which have opened a universe of possibilities for the new generation of dancers, but it lacks the innate driving force behind flamenco. In other words, do whatever you want, Israel, but do it with compás.

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