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LA
VIDA EN SENSACIONES
Text: Manuel Moraga
Photos: Rafael Manjavacas Lara
Eva changes. Art is a process and Yerbabuena is coming
from another place, from an inner life. Her choreography traces
unchartered feelings. It’s the smooth but ongoing process
of creation, except that her process is not a sudden rupture,
but organized, not chaotic, but structured in a coherent evolutiion
with her way of feeling. “El Huso de la Memoria”
was conceived as a collection of memories basted together
that are more feelings than visualized scenes, in other words,
the little droppings of life…or of the imagination, which
also leaves its mark.
Eva is a woman of many talents when it comes to putting ideas
together. One of the most important – because it affects
the personality of the entire work – is possibly the
virtue of creating a dramatic unity. The music, lighting,
scenery and general aesthetic make the different pieces fit
together, no matter how different they seem. This shared ambience
holds the whole show together, and it’s no small thing
because those “invisible” elements connect directly
with the heart and soul of the work.
Another of her abilities is her choreographic capacity, her
way of creating dance and expressing ideas with bodies other
than her own. This by the way is a profession clearly in decline,
since the tendency, a commercial necessity, is to produce
shows with just one or two dancers who cook up their own choreographies
with no outside help, so that there are fewer and fewer artists
who evolve managing a corps de ballet. Eva Yerbabuena has
had some good teachers in this discipline, and it shows, just
as you can also see her ability to squeeze out the possibilities
of each one of the dancers while at the same time, constructing
ideas with them. “El Huso de la Memoria” is a
good example of this capacity, working the corps de ballet
jointly (the piece “Galera” for example is very
beautiful and has great strength) as well as individually
(men for the farruca, women for the rondeña). And of
course, the choreography with guest artist Patrick de Bana
is of great beauty, as are the special collaborations of Aída
Badía (who dances the saeta) and an exceptional Eduardo
Lozano.
We leave Eva for the last, because she’s a whole other
story. Yerbabuena is a performer for exquisite tastes. She
seems to be endlessly resourceful. There are anthological
details in her dancing, grandiose subtlety which needs to
be savored slowly, because there are no extraneous gestures
or movements, but rather they are sincere, and profoundly
connected with her being. None of this is new in Yerbabuena.
What is different is her evolution. Today in her dancing we
see Eva the woman, an Eva who loves differently, Eva the mother,
in other words, an Eva in keeping with the quest as a part
of the vital stage she is going through.
Once again we must point out the wealth of registers of this
dancer who is capable of bringing together, in a question
of seconds, a tightly intense movement of the shoulder with
the most provocative hip movement. From the most refined to
the most profane, a universe of registers in which Eva moves
with absolute command.
“El Huso de la Memoria” is another cog in the
wheel of continuity of Yerbabuena based on feelings. That’s
the drama that most interests Yerbabuena because it is where
she finds absolute expressive freedom and fertile ground for
her experiments, such as the wonderful mirabrás with
shawl and bata de cola. Or her stylized soleá where
she shows off her most flamenco qualities. Feelings from a
lifetime (lived or imagined) and which impregnate her soul
and those Eva Yerbabuena puts in movement with perspective
and mastery.
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