XV BIENAL DE FLAMENCO DE SEVILLA. 'El final de este estado de cosas Redux'. Israel Galván

XV BIENAL DE FLAMENCO DE SEVILLA

‘EL FINAL DE ESTE ESTADO DE COSAS REDUX’
Compañía Israel Galván
Directed by: Pedro G. Romero
Program (PDF)
24th SEPTEMBER – Teatro Maestranza – 8:30 pm

SPECIAL BIENAL DE FLAMENCO DE SEVILLA 2008

Text: Estela Zatania
Photos: © Archivo Bienal de Flamenco, Luis Castilla

Dance and choreography: Israel Galván. Artistic director: Pedro G. Romero. Staging: Txiki Berraondo. Guitar: Alfredo Lagos. Cante. Diego Carrasco, Fernando Terremoto, Juan José Amador. Dance, palmas and compás: Bobote. Percussion: José Carrasco. ‘Orthodox ‘ group: Marco Serrato, Ricardo Jiménez, Borja Díaz. Violin: Eloisa Sánchez

I’m of the opinion that when it comes to flamenco dance, the less libretto, the better.  But the enigmatic title “El final de este estado de cosas redux” ('the end of the current state of affairs, redux'), which suggests a complex conceptual line for Israel Galvan’s latest work, is apt even beyond the original intention.

In English the Word “redux”, which comes from the Latin for “reduce”, has become fashionable in other languages in recent years, thanks to the 2001 film  “Apocalypse now redux”, which was a reinterpretation of the original version.  This new version of Galvan’s show, is a laborious rethinking of the original work which debuted at the last Bienal de Málaga less than one year ago.  That version depended on an outsized cast not easily exported to other countries, and for many, it was too long (two and a half hours) and convoluted.  Quoting from my review of that night: ”It looks like this time the genius just had too many ideas”.

Last night, those of us fortunate enough to occupy seats at the Teatro de la Maestranza, were able to contemplate the results of a dramatic, and no doubt difficult reworking and distillation of the original show.  “Distillation” is the operative word.  Elements have been eliminated that perhaps enriched the theater experience, without adding much to the diffuse apocalyptic message, not to mention the dance.
 
I would personally prefer to see the long video of one of Galvan’s students, with lots of text and not enough time to read it, drastically cut down.  Because I don’t like to read a show, because I go to the theater to see living, breathing humans and because I have no interest in his students when the genuine article is on hand.  But the overall pace of the work now has greater coherence, the spirit is closer to flamenco and instead of watching the clock, you don’t dare take you eyes off the stage.
  
Nearly all the original components are in place.  The butoh dance at the beginning is no longer a small tapa, but rather we’re permitted to feel and enjoy it at length.  The insanity of dancing on singularly unstable wooden planks with objects that fall, a surface that folds up almost from looking at it, and billowing clouds of dust that come up with each step, is more developed and impressive. The “heavy metal” music has been reduced to a short spot, ceding greater importance to flamenco apostles Diego Carrasco, Juan José Amador, Alfredo Lagos, Bobote and José Carrasco, and Fernando Terremoto is allowed to shine as is only fitting (a thousand thanks for this, Israel).  The subtle fake breasts from the earlier version, are now extravagantly large and pointy – it makes no sense to go half-way with such things.  The miniature verdiales band is now reduced to a single violinist, without losing the force of the moment.  The entertaining and unsettling dance of Bobote, bare-chested and barefoot, has been appropriately expanded, and the famous scene of the coffins has been shortened just right for the most impact.

Needless to say, certain constants that run through all of Israel’s work continue to define his artistic personality. The use of contrasting speeds, the poses that are both surprising and familiar, the pregnant silences which come off as dance without movement…the spark of surprise at every moment.  Now the dancing devours the theatre instead of vice versa.
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This is a more user-friendly Israel Galvan who nevertheless remains true to his vision and makes no concessions.  In actual fact, this “redux” might be the shape of things to come, “el final de este estado de cosas” as the title says, and possibly marks the beginning of an even more brilliant artistic phase for our genius.