3 FESTIVAL SUMA FLAMENCA
¿2 + 2 = 4?
Two and two don’t always make four. There are times when the sum of the parts doesn’t necessarily result in a mathematical equation. I would even go so far as to say there are times when addition ends up being subtraction. This is not another version of new math, but rather the complex intellectual working of art.
Carmen Linares, Rocío Molina, Miguel Poveda, Israel Galván, Nani Paños, Rafael Estévez, Carmen Cortés, Fernando Terremoto… When you see all those names together it seems like a sure thing, but the theatrical world has, in a certain way, the annoying habit of disobedience and unpredictability. I say “in a certain way”, because even without being an exact science, certain laws can be observed. Laws which in this production have been ignored. In actual fact, the individual collaborations did not help make “Goyesca” an attractive work, but a rather flat one which tended towards tedium.
As Jack the Ripper would say, let’s go part by part. Perhaps the complexity of the work, which includes 40 or more artists, and the bunching up of pieces make for difficult staging. Difficulties and even a lack of intellectual coherence. Theatrical works must have an internal rhythm, a pace, which here was completely lacking; it was more like an accumulation of postcards. Furthermore, each of the pieces was excessively long. By the same token, the show was uneven and visually poor; for example, this type of undertaking could have introduced audiovisual material to enrich the whole and set the pace. You are no sooner be witnessing a theatrical perspective, than the whole thing degenerates in a simple recital…and then back again to the theater angle.
Having said that, it must also be pointed out that there were interesting moments such as the interpretations of Carmen Linares and Miguel Poveda at the beginning of the work (which by the way was a far cry from what could have been done because the only thing they managed was to eclipse each other, and eclipse the text as well). And of course, we have to mention the genius of Rafael Estévez and Nani Paños in their various numbers. They are simply incredible. By the same token, the musical construction of “Policaña” interpreted by dancer Carmen Cortés and Mónica Valenciano was simply beautiful. Israel Galván’s number was several minutes too long – in general, everyone was too long-winded – and the excessive length ended up being a problem within the spluttering pace of the work, but even so, it’s always interesting to enjoy his impeccable technique and his peculiar personality. Terremoto is a sure bet, and yesterday he once again proved it. And Rocío… The surprising Rocío Molina, impressive…she’s a weakness of mine, I have to admit it. Her expressive capacity goes way beyond the norm. Rocío is pure dance, and yesterday, along with the splendid David García Berrocal and Moisés Navarro, she managed to have us leave the Teatro Albéniz with a sweeter taste than would have otherwise been.
Noteworthy is the amount of work it must have taken to select and coordinate the music for “Goyesca”, but in the end all the isolated virtues add up to an inarticulate and intellectually deficient work. It’s good this festival takes on these ventures, but other routes should probably be explored. I don’t even want to think what it cost to present “Goyesca”, knowing that it will only be presented once or twice and with overall dubious quality. Throwing money at individual talent is not a formula that yields art. In the world of the theater, math is not an exact science.
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