Eran casi las dos

informació obra

Carmen Fumero, Miguel Ballabriga
Miguel Ballabriga
Miguel Ballabriga, Carmen Fumero
Sergio García
Composició musical:
This Day In
Santiago Rusiñol
Jordi Prat i Coll

[...] “Encara que aquest breu intercanvi de paraules havia estat realitzat amb somriures per ambdues parts, els seus ulls s’havien carregat per un instant de tal expressió d’amenaça, que va tenir la fatal i nítida convicció que aquesta nit aquest jove que tenia davant no podria fer una altra cosa més que assassinar-la” [...]

L’escola de la carn de Yukio Mishima

Crítica: Eran casi las dos


La bellesa magnètica del factor "casi"

per Clàudia Brufau

As if you had stepped in a magnetic field, Eran Casi las dos holds you captive in the tenacious cool tension between Miguel Ballabriga and Carmen Fumero, performers and choreographers of the duet. Ballabriga’s stylised breakdance movements open the piece, swirling in evanescent streaks two inches from the floor. Stage front, he moves from left to right. Between him and Fumero –who stands still, facing backwards in the opposite corner – there’s an elastic connection, as if rope tied them on the diagonal. When he reaches her, a line of light falls on the dark stage. From there on, they encircle each other, pushing forward and pulling back. She cuts the air with sharp determination, and in turn he swims around in a jelly pool. Yet, in these two contrasting motional moods they intertwine, wrapped in a low deep soundtrack.

When an incisive acute high-pitched sound bursts through, the previous monotonous landscape vanishes, and little more light sneaks onto the stage. Again, each of them takes up an opposite corner; she swirls vertically, moving her limbs like whips; he twists his body, leaning on the floor, horizontal. The two dancers meet again under an overhead light: he encircles her, and she goes on defiantly with the whipping limbs, sculpting the air in spirals. The piece comes full circle – or, rather back on the diagonal – when the slanted line reappears and the dancers are pulled back together. The “almost” (casi) factor, the symmetric timing and structure of the dancers’ handicapped togetherness, relates cleverly to the title Eran casi las dos, which in English you could loosely translate either into “They were almost two” or “almost two (o’clock)”. Brilliantly depicting the meandering path of attraction through the plasticity of eclectic motional textures, Ballabriga and Fumero make you ponder the bewildering beauty of failed encounters.