Dance
Spanish thrills
Giannandrea Poesio
In 1837, the French balletomane, jour- nalist, dance writer, poet and novelist Theophile Gautier praised Spanish dancing for being a true 'expression of tempera- ment rather than a conforming to a set of rules'. Indeed, the success of Campanas Flamencas, the timeless tradition depends greatly on the way the six performers con- fer a personal coloratura on their dancing. The viewers are enthralled by a variety of interpretative possibilities that go beyond and, at the same time, complement the choreographic differences between the var- ious dances and the diverse technical skills of each artist.
The formula is simple but effective, namely a series of solos and duets that either respond to the moods conveyed by the sung and musical accompaniment or translate into dance images the mini-stories told by the singers. There is neither a given dramatic pretext nor a specific story-line. Unlike those performances that, in the recent past, have contributed considerably to the popularisation of flamenco by using it as a choreographic narrative means, Campana Flamencas, the timeless tradition focuses on dancing for dancing's sake.
As the title suggests, the aim of the per- formance is to highlight flamenco's phe- nomenal adaptability to the ever-changing aesthetic modes of contemporary society. In full accordance to the principles of that dance genre, which prescribe the constant invention and addition of new steps accord- ing to the creative abilities of the per- former, the dances presented stand out for the way the basic patterns are varied and developed. The vocabulary encompasses both the canons of a well-affirmed tradi- tion and a more familiar contemporary- oriented way of moving, thus rendering the entire evening accessible even to a non Spanish/non-flamenco audience.
The sequence of dances, moreover, is never repetitive or boring, for it relies on a calibrated game of stylistic and technical contrasts that allows an immediate appreci- ation of multiple aspects of the same dance form. Also, the choreographic and stylistic variety dispels the risk of turning the perfor- mance into a dance competition or of mak- ing unfair comparisons between performers.
Although some purists tend to regard the theatricalisation of folk dancing as an unac- ceptable compromise, some folk dances manage to maintain their original essence — as well as their function — even when extrapolated from their original context or re-arranged for an unorthodox performing space. There is little doubt that the flamen- co seen in Campanas Flamencas belongs to this category of folk dances. One look at the fiery, inebriating dancing of La Tati or at the hypnotising evolutions of Milagros Mengbar makes one realise that prove- nance becomes utterly irrelevant, as the powerful drive of both solos generates exclusively from the artists' interpretation.
Similarly, the dazzling sequences per- formed by Joaquin Grilo, Isaac de los Reyes and the latter's 11-year-old brother Nino engage the audience in such a game of active and highly enthusiastic participa- tion that one might easily forget one is in a West End theatre. Even the choreographi- cally and dramatically weak duet that opens the second part of the evening, danced by Isaac de los Reyes and the beau- tiful Maribel Espino, lacks the 'made-espe- cially-for-the-stage' connotation that characterises most of the narrative works mentioned above.
As I have already said, the dancers, like the musicians and the singers, are all first- class. Among them, the young Nino de los Reyes undoubtedly stands out as one of the attractions of the evening. His approach to a dance form that is commonly associated with more adult concepts is certainly unique. Still, I know I am not the only one who experienced some difficulties in enjoy- ing his performance, mainly because I found that some of the movements — par- ticularly those of the arms — did not suit an 11-year-old body and lacked spatial effectiveness. In addition, despite his out- standing technical bravura, I could not help finding his interpretation — a fundamental component of flamenco — forced and unreal, far too similar to an empty mimick- ing of the grown-ups' facial expressions. In fact, I found him far more 'natural' — and therefore more enjoyable — in the grand finale, which, as is often the case with fla- menco performances, becomes a carefree, pyrotechnic display of technical bravura which brings the house down.
And my wife uses that one for popping to the shops.'
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