Erritu

Dansa

informació obra


Companyia:
Kukai Dantza
Coreografia:
Sharon Fridman
Sinopsi:

Erritu és un viatge vital que travessa els estats de la vida mitjançant els rituals de pas: des del naixement al caos, passant pel desert de la soledat, fins arribar a l’amor i, finalment, la mort. A Erritu es fonen dues maneres d’entendre la dansa, la del prestigiós coreògraf israelià Sharon Fridman, amb un moviment basat en el contacte, i la de Kukai, de moviments purs i vitals. L’espectacle, concebut per a espais no convencionals, ens permetrà gaudir de la Seu com mai havíem fet fins ara. Un altre dels al·licients d’aquest muntatge és la participació de setze veus femenines de l’Orfeó Manresà, que interpretaran diverses melodies escrites pel contratenor  David Azurza.

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Crítica: Erritu

27/02/2020

A moral mantra in the madness

per Alx Phillips

The ethereal and the compulsive combine in Erritu, a site-specific dance piece by the Basque company Kukai Dantza. The troupe, founded in 2001 by Jon Maya Sein, take traditional regional dance and its ritualistic elements into new dimensions, with accomplished multidisciplinary productions that call on the individual visions of invited choreographers and collaborators; among whom, flamenco-star Israel Galván and Marcos Morau of La Veronal. 

In this case, the external gaze of Israeli choreographer Sharon Fridman informs a piece that, says Maya, attempts to carry the audience into different spaces, spheres and eras. The proposed dance narrative is the shared experiences that make up a life: solitude, connection, community and death. These stages of the human cross are performed by a group of six; their movement evoking persistent human endeavour and learned skill, but also repetitive fearful obsession.  

Erritu, recently performed in a volcanic crater in Olot and in Manresa’s cathedral La Seu has been adapted to Mercat de les Flors’ expansive and flexible space with the incorporation of Cor de Noies de l’Orfeó Català on the stage. Around 30 female choir members close in on the dancers, murmuring mantras; the effect is intense, consoling yet intrusive, a form of spiritual surveillance. 

Stealing the show is the awesome input of Basque countertenor David Azurza, previously heard at Mercat in Akram Khan/Israel Galván’s hit production Torobaka. He appears like the physical manifestation of artists’ icon Saint Jerome, his corporeal fragility superseded by the emotional eminence of his voice.