Breve sueño

Breve sueño

Díptico multidisciplinario

Camila Juárez. Comentario de las presentaciones en CETC. Mayo 2015

El mecanismo de Breve Sueño condensa dos acontecimientos formales compuestos cronológicamente por Patricia Martínez entre 2014 y 2015. En el primero de ellos, “Más allá”, se presenta un dispositivo con tres bailarinas en escena, diseños de iluminación y el registro sonoro de un conjunto de dieciseis instrumentos, que repone la memoria de su estreno mexicano. Como una torsión en esta trama, “Los Durmientes” continúa este trayecto pero con el  sonido en vivo de un ensamble de cinco músicos y cinco cantantes dirigido por Santiago Santero.

El complejo díptico se construye a partir del texto, movimiento, iluminación, espacio, imagen, música y sonido – y mejor aún, de la escucha. Se trabajan entonces distintos estados que se filtran, uno a uno, con auténtica naturalidad y sin necesidad de ser catalogados. Los sentidos así estremecidos se dejan succionar también a través del movimiento y desplazamientos coreografiados por Melanie Alfie. Se concreta de este modo aquello que se resiste a cobrar forma, ese resto que compone el sentido en esta pieza desplegada en varias perspectivas. 

Las dos partes se inspiran en textos de épocas y culturas diversas: John Donne y su poema metafísico "Death be not proud, though some have called thee" del siglo XVII y la historia de los durmientes de Éfeso del siglo III. Aquí la búsqueda del sentido último de la existencia se da a través de la representación de un ambiente inestable, entre luminoso y oscuro, con movimientos quebrados y tersos y sonoridades continuas que se desvanecen en declinaciones intermitentes, a la vez que destacan la idea de la existencia despojada de un punto final, como un trayecto que avanza evanescente y que nunca termina.

Facundo Echeverría, tenor; Lucía Lalanne, soprano; Esteban Manzano, tenor; Verónica Nostro, mezzosoprano; Nadia Szachniuk, soprano, foto Michel Marcu.

Pero ¿cómo escuchar esa materialidad que a la vez se desvanece una y otra vez? Los sonidos respiran, raspan, susurran, resoplan y articulan timbres que se disparan desde distintas direcciones de la sala e impactanencriptados sobre sí mismos. Ellos muchas veces se enmascaran entre sí y entrelazados también con sucesos escénicos, casi objetos sonoros generados en la acción de bailarines y cantantes. Por momentos el coro desencadena distintas intensidades y disonancias metálicas, como ballenas sibilantes y sordas sostenidas también por los sonidos del ensamble. El arco de tensiones se completa con texturas, registros e intensidades a veces extremas distribuidas en el espacio de un ámbito cultual. Parecería entonces que estuviéramos dentro de una caverna o en un ámbito sagrado casi sin tiempo, donde restos del mundo y del silencio se amplían a nuestro lado.

Entre la ensoñación, el transcurrir temporal, la vida y la muerte como procesos, que permiten el tránsito y el resurgir permanentes, se entrama sutilmente Breve sueño casi como una demanda espiritual que puede también ser materializada también en el poema de Donne “Después de un breve sueño despertamos eternos,/ Y ya no habrá más muerte: muerte, tú morirás”.

 

Camila Juárez es investigadora y doctora en Artes (Facultad de Filosofía y Letras, Universidad de Buenos Aires). Su trabajo se enfoca en la historia cultural y política de la música de vanguardia rioplatense en la segunda mitad del siglo XX, con especial énfasis en la experimentación. Ha sido becaria CONICET y actualmente es docente en la Universidad Nacional del Arte y en la Universidad Nacional de Avellaneda, colaborando también en la Universidad de Buenos Aires. Participa en grupos de investigación en la Universidad de Buenos Aires y ha sido integrante del proyecto ANR Globamus, en la Escuela de Altos Estudios en Ciencias Sociales-EHESS (París). Ha co-editado el dossier “Las ciencias sociales a la escucha del tango” (Revista Afuera, 2011) y ha publicado diversos artículos, entre ellos los que integran los libros The Militant Song Movement in Latin America. Chile, Uruguay, and Argentina (2014), Tangos cultos. Kagel, JJ Castro, Mastropiero y otros cruces musicales (2012) y Tango: ventanas del presente. Miradas sobre las expresiones musicales contemporáneas(2012).


EN

Short sleep / Breve Sueño

Interdisciplinary music theatre work by Patricia Martínez

 

"It's fascinating how Martinez's work started from nothing and is arming itself from that breath."
-    Pablo Gianera, La Nación Newspaper, 5-24-2015
-    
-    "Her musical materials never uninteresting, and have special moments of brilliance"
-    - Federico Monjeau, Clarin Newspaper, 5-15-2015

 

Short sleep is a contemporary musical diptych for the stage composed by Beyond (Más allá) and The Sleepers (Los durmientes), two works that address the same issue from different angles: death.

I -Beyond (for dancers and chamber orchestra on stage) put its focus on the subject of life after death. It proposes an expansion of languages in which the vital energy (chi / prana / qi) and the persecution of its immateriality are manifested in the work and become visible, apparently objectified albeit fleetingly unfinished, following an unreadable course.
Beyond works with subtle energy levels crossed by the poetic exploration of its reach in other planes of existence, through research of sound experiments with TCI (Instrumental Transcommunication or Electronic Voice Phenomena, i.e. sound recordings that make other possible planes of existence accessible to contact) and the traditions of spiritism (Alan Kardec), mediumship and near-death experiences.

II-The sleepers (for five singers, ensemble and dancers on stage) is based on texts about the legend of the seven sleepers of Ephesus from the third century AD in their original language (Coptic, Syriac) collected and translated by Ignacio Guidi in 1884/5. It focuses its attention on a historical-religious rift where the idea of "endless life" is present. According to several sources and versions, the story tells how persecuted young men hide in a cave where they are finally locked and, inexplicably, sleep for hundreds of years until, when the cave is opened again by chance, they wake up to a new world. Mixture of Indo-European and Semitic traditions, this story is a narrative fusion of myth, legend and folktale, and at the same time a synthesis of different cultures and beliefs of a distant era. The idea of taking this thematic material as a source for this scenic-musical work involves an aesthetic quest toward the unattainable. It is an attempt to extend this eclectic collection of influences and traditions onto multiple looks and senses, none of them completely enclosed.

Short sleep, as an integral work organically set, plays all the time with musical, performing and conceptual connections between Beyond and The sleepers, taking the idea of mirroring to multiple constructive instances. On the other hand, it makes use of contemporary language as in a dream, without respect for any canon, as it makes use of multiple styles almost like aromas mingling in a great feast. Finally, it incorporates a historically intermediate element that functions as a kind of synthesis: a poem by John Donne, western specialist on metaphysical poetry.

Short sleep tries to open questions, mobilize beliefs and promote a different perception of things, of ourselves and of our relationship with the ultimate meaning of life by exploring the seemingly unfathomable: death.

Facundo Echeverría y Verónica Nostro, cantantes, foto Michel Marcu



Cast List

Brief dream / Breve sueño

Musical theater / diptych
Commissioned by Experimentation Center of the Colón Theatre
Supported by the IBERMÚSICAS / IBERESCENA Award

 


Composition and general direction: Patricia Martinez
Choreography and movement design: Melanie Alfie
General production: Barbara Scotto
Performance and light design: Sergio Iriarte
Visual art: Mariela Yeregui
Visual art assistance: Paula Guersenzvaig
Visual art assistance/support: Giuseppina Vignola
Live sound and recording: Gerardo Morel
Costumes and makeup: Colón Theater
Cameras: Painé Barrientos, Marcos Franciosi / Valeria Martinelli, Patricia Martinez, Colon Theater
Live footage from 12 to May 17, 2015, CETC.
Video editing and post-production: Patricia Martinez

I - Beyond (2014)

Spiritual body:
Dancer: Maria Aguirregomezcorta
Mental body:
Dancer: Luciana Brugal
Physical body:
Dancer: Ivanna Ramonino

Conductor: Jose Luis Castillo
CEPROMUSIC Ensemble (Mexico DF)
Percussion: Orlando Aguilar and Juan Gabriel Hernández
Trumpet: Rafael Ancheta
Clarinets: Diego Boxes
Trombone: Alejandro Diaz
Bass: Juan Jose Garcia
Piano: Gonzalo Gutiérrez
Violins: Rafael Machado and Carlos Lot
Cello: Roxana Mendoza
Flute: Diego Morábito
Oboe: Carlos Rosas
Corno: Betsy Segura
Bassoon: Ventsislav Spirov
Viola: Alena Stryuchkova

Experimentation and Production Center for Contemporary Music (Mexico)
Studio recording, in July 2014, Mexico DF.
Text: Beyond (2014), Patricia Martinez

 

II - The Sleepers (2014/2015)

Sleepers:

Dancer: Luciana Brugal
Dancer: Ivanna Ramonino

Short dream Ensemble
Tenor: Facundo Echeverria
Soprano: Lucia Lalanne
Tenor: Esteban Manzano
Mezzo: Veronica Nostro
Soprano: Nadia Szachniuk
Trombone: Pablo Fenoglio
Clarinets: Federico Landaburu
Cello: Carlos Nozzi
Bass: Carlos Vega
Percussion: Arauco Yepes
Conductor: Santiago Santero
Assistant musical direction and voice teacher trainer: Diego Ruiz

Texts from Testi orientali inediti dormiente di sopra I sette Ephesus
 (IV d.C) collection and translation of Ignacio Guidi (1884-1885);
Death Be Not Proud (1609) by John Donne.
Translation and phonetic from Coptic: Diego Santos
Translation and phonetic from Syriac: Hector Ricardo Francisco
Selection of texts: Patricia Martinez
Live sound recording, May 16, 2015, CETC.
Sound Editing: Gerardo Morel, Patricia Martinez
Ph. Michel Marcu

Total duration: about 55 minutes.
 


Extended REEL:


Trailer:



Melanie Alfie


    She is a choreographer, director and dancer at Rumbo de La Grieta Dance / Theater Company. She conducts seminars and brings his works to Granada, Madrid, Sicily, Rome, France, Guatemala, Cuba and Perú.
    In 2014 was winner of Iberecena/ Ibermúsicas Prize for creation and production of a choreographic and musical project with Patricia Martinez and her project Beyond presented at CEPRODAC (Production Center of Contemporary Dance, Mexico DF), at the Palace of Fine Arts and Cultural Center Julio Castillo.
    She won the exchange scholarship from the Argentinean Ministry of Culture to take her work Tung, who does not return, to the dei Navigantin Theater in Messina (Italy), and at the International Festival of Dance in Azul (Argentina), where the venue was shared with Argentinean choreographers, and the featured guest was the trio of the company Pina Bausch Wuppertal (Germany). She received Prodanza grants for her work Under the pendulum.
    She was invited by the South American Meeting of Dance and Policy, to the ECUNHI space, to joint the Creation Space (2011). She participated at the International Festival of Performing Arts in Santa Ludmila-Comas (FIAE), Lima, Peru, with the work Under the Pendulum and conducted a seminar of dace-theater and research at Dance Movement Tupac. She conducts seminars at the Catholic University of Lima in Space Dance and workshops in the mountains of Huaraz and Carhuaz. The latest creation of the company in 2013, released in Trilce Theater, “Cielo de Ida with music by Jean-Jacques Lemêtre (France), was declared of cultural interest bu the Argentinean Embassy. She was choreographer in Brief Dream at the CETC, in 2015.
(1998 to 2001) takes her workshops to guatemala, france, italy, spain and cuba, the latter country where she was invited with his works "drusilla" (1998 to 2001) and "days of dance" at the international festival of havana.  drusilla in  ernesto bianco , san martin cultural center
-wozzeck-(dancer) at the Colon Theater.- vacuum (liberarte theatre), the circumstances autolvidable
1997-2009-teacher at Lorenzo Quinteros studio theater. 1990-1992-teacher at The Art University of Cordoba: research on movement. “the day of champion.”(dancer) Silvia Vladimirsky and Salo Pasik, International Festival Buenos Aires, General San Martin Theater.
1989-1991-works joe oie (dance theater) (paseo La Plaza), Recoleta cultural center, along with Rodolfo Prante, a Rocamadour, with Alejandro Toledo. She was invited by Hervé Diasnás residences in france since 1998, stage 2009 Buenos Aires broumanchon and Blamarche Claude (france), International seminar with dancers tanztheater wuppertal, Pina Bausch Company (2011), Jaques-Jean Lemetre (musician du tehatre soleil, france) (2012).
    She is one of the pioneers of video dance in Argentina, with the creation of four works presented at international cycles: "the earth chronicles" (1995), presented at the first international video dance festival of buenos aires; "shibumi" created with Alejandro Awada (1994), which was presented at the third international festival of video dance of buenos aires, in festivals mendoza and rosario, argentina, being selected for the first festival of video and electronic arts recoleta cultural center; "the desert of three" (1998) presented at the iv international video dance festival at the ricardo rojas cultural center
    As a choreographer she worked in works such as escruchantes (1999), black ant (2000), fallen (2004), that have been run by lorenzo quinteros and the guide (2009) directed by  H. Acosta.
WEBSITES: FACEBOOK  MELANIE ALFIE ESTUDIO   /   RUMBO DE LA GRIETA  /  email: ALFIE.MELANIE@GMAIL.COM
WWW.ESTUDIOMELANIEALFIE.BLOGSPOT.COM.AR    /     HTTP://RUMBODELAGRIETA.BLOGSPOT.COM.AR


Santiago Santero

Ph. Bárbara Scotto

    He is a composer, musical director and teacher. He was born in Buenos Aires, Argentina, in 1962, studied piano at the Conservatorio Nacional de Música, orchestral conducting at the Facultad de Bellas Artes de la Universidad Nacional de La Plata and composition with Guillermo Graetzer and Mariano Etkin.
    His first concerts as a conductor on classical repertoire were given with the symphony orchestras of Entre Ríos and Santa Fe. After those experiences he started to conduct contemporary music which became his main activity as a performer.
    He also founded and conducted several ensembles that were exclusively dedicated to contemporary music such as Grupo Estudio Contemporáneo, Halloween Ensemble and CEAMC Ensemble.
    Along with these ensembles he´s had an intense actitivity on promoting the XXth century classics and premiering works by contemporary composers.
    Since 1999 he collaborates with the musical programming of the Ciclo de Música Contemporánea del Teatro San Martín. In this festival he has conducted a great amount of works in concerts with outstanding international performers. Among these were the premieres of works commissioned to argentinean and latin-american composers as well as performances of classical XXth century repertoire.
    He has also worked as guest conductor at the Centro de Experimentación del Teatro Colón where he has been in charge of chamber music concerts, dance performances, experimental works, sound installations and other events.
    Also as a conductor, he has toured and performed in several festivals from countries including Perú, Colombia, United States (New York), England (Dartington Summer Course) and Switzerland (Basel and Zurich).
    His work as a composer comprises a series of chamber and stage pieces. Among the latter stands “Estudio al Estilo Veneciano” which was premiered at the Centro de Experimentación del Teatro Colón in 1996 with excellent reviews from specialized press. Also in this theatre he had his works “Periplos” and “..y..y..y..”  premiered in 2000 and 2001. Both pieces were performed by Ensembles XXI under Alejo Pérez.
    “Periplos” has been included in the CD series “Panorama de la Música Argentina” and was published by the Fondo Nacional de las Artes.
    He also composed music for the film “ANHUA, Amanecer” which was premiered in Buenos Aires in 2004
    Some of his works have been performed by important international musicians such as Robyn Schulkowsky and Pedro Carneiro on percussion, the english ensemble Piano Circus, soloists from the Psappha Ensemble (England), Antidogma Musica (Turin), Modelo 62 (The Hague) and Opera Nova (Zurich).
    Among the argentinean ensembles that have performed his music are Ensamble XXI, Ensamble Süden, Quinteto Sonorama, Ensamble Sirius, Tropi Ensemble and La Compañía Oblicua.
As a teacher, he runs an intense activity at the U.N.A. (Universidad Nacional de las Artes) and the Facultad de Bellas Artes de La Plata