The super play Carmina Burana by Cuba’s Contemporary Dance (DCC) deserved the Villanueva Special Prize of the dance critics that every year awards the best national and foreign shows presented in the country.
Granted annually since the end of the eighties, the prize serves as proof of the best plays that Cuban members of the audience appreciates in the theatre stage and its jury is integrating by members of Critics Section and Theatre Investigation of the National Council of Performing Arts belonging to the Cuba’s National Union of Writers and Artists.
According to the proceeding, the prize recognizes the exceptional of the ambitious and authenticity performance conception.
Carmina Burana by DCC was presented, for the first time in its complete form, in this island only a week ago, however, this play exists since 2008 and after its world premiere in Mexico it won, a year later, the greatest performing arts award in that country, the Luna prize.
Before the staging in Cuba, the play -with choreography of the Cuban youth George Cespedes and general directing by Miguel Iglesias - was presented with a great success, for eighth occasion, in the Mexico’s National Auditory, with capacity for 10 thousand people.
For the premiere in Cuba of this super production the National Symphonic Orchestra and the National and Infantile Chorus, under the direction of Enrique Perez Mesa and Digna Guerra respectively were called.
Also, were joined to the piece the soprano Milagros de los Angeles, the baritone Ulises Aquino and the tenor Harold Lopez Roche.
This choreographic version involves a backdrop of LED screens and another small circular shape screen in the middle which projects a video of varied contents, from the origin of the universe and part of the current events in an ordinary street until the possible destruction of all that we know.
The communion between the physical and spiritual shots seems unavoidable in a play that aims to soul breaking of anyone, and the dancers accept it with strength and convincing.
Carmina Burana is an ode to the man's life in this world, assured Cespedes to Latin Press.
The show contains solo, duos, trios, quartets, quintets, sextets, septets, an incredibly dance company, a simple costume with medieval motifs and a light design in functioning as to increase the intensity.
In time with the harrowing music of Carl Orff, based on 24 poems written by Goliardos among the XI and XIII centuries, the dancers hide the inner self drama and joining to the morality as a duty, an unavoidable for all inhabitant of a temple.
Once again, the company was bursting virtuosity and the technical executions of the women include identical sequences to those of the men, even charged with very different sorts, performed in a natural way by them, with a very strong will to eclipse any gender distinction.
Another feature worthy of highlights in this choreography is the design in the space, because it influences in the dynamics, it suffrages the emotional emphasis, the staging doesn’t achieve the same effect without that layout.
Carmina Burana by DCC is an amazing play which renovates the prestige of a company founded 58 years ago, able to balance youth and maturity, and distinguished by to have its hallmark, it is a mixture of cutting technique and character, with an intimidating catlike that, according to the director Iglesias, for him it becomes essential in a dancer.