Der Premieren- und Festivalblog des Thalia Theaters Hamburg
Foto: Laurent Ait Benalla
Von Malva Cepeda Fernández
Maurice Ravel once said “We should always remember that sensitiveness and emotion constitute the real content of a work of art.”
Abou Lagraa was fully capable of staying true to Ravel’s words by creating such a complicated though softly fluent performances, showing a strong will to be passionate.
The curtain opens with the flashy city sounds accompanying two men who are moving towards the crowd. Slowly but surely these take careful steps in accordance to the echoes of daily routine. They develop themselves, their moves, and their souls; through one of the most beautiful compositions ever made, the Boléro de Ravel, the simplicity of the stage and the lightning created by Gérard Garchey the audience was able to appreciate the beauty of the music plus the non-counting movements of the dancers. Each one of them wearing comfortable though calculated clothing by Michelle Amet appearing like another day of rehearsal, matching with the usual swishes of the city.
The main question during the first half was, how is it possible to create choreography out of the Boléro de Ravel? It is quite complicated to create a creative choreography out of this one-movement composition, but yet again it was comprised to reinvent dance motions, and that is exactly what the audience was able to appreciate while these nine dancers mixed their hip-hop, broken ballet and breakdancing abilities.
The second half opened with a stage as simple, though in some special way more colorful than the first one. The dancers were dressed in black with touches of turquoise, matched with a black background and three beautiful hanging carpets. They were dancing to an Arabian melody, and the audience could observe that this fragment was principally about brotherhood, creating an air of friendship and sense of responsibility to each other as one big family sharing the same passion.
The music suddenly changed to something livelier and the dancers showed the audience their breath taking coordinated moves, which concluded with a surprising rain of hope and “trust for life”, which is what NYA stands for.
At the end of the ballet the difference in styles and the cultural background of each one did not matter, they worked in perfect harmony and we enjoyed every minute of it.
Since I danced the Bolero during my ballet years, nostalgia struck me and I felt like I was back in time, so the joy I felt was inexplicable and made me feel alive again.