Monday, 15 November 2010 16:35

Blanche Dubois (2000)

Blanche is based on Tennessee William's play A Streetcar Named Desire. This Cuban Blanche, who stays on the island while her sister emigrates, holds onto her revolutionary dreams, just as the original Blanche never loses her aristocratic spirit.

The work was created in collaboration with Cuban theater director Raul Martín. Blanche allows Boán to articulate the tenets of "Contaminated Dance" through her own body and performance. Through the equal and meticulous attention to details of voice, body, objects and space, Boán creates a work that becomes a true hybrid of dance and theater.

Additional Links

Article about Blanche by Miguel Sirgado Teatro en Miami. In Spanish.

Preview of Blanche in Miami New Times.

Published in Marianela Boán: Works
Monday, 15 November 2010 16:32

Chorus Perpetuus (2001)

Chorus Perpetuus is a reflection on freedom, collectivity, and the necessity for responsible action. DanzAbierta sings and winds itself through Gershwin, Mozart, Pergolesi, and Simons, interrupting itself as one or another of the dancers breaks out of formation, fails to stay in tune or steps into individual action. To the repeated question ¿Por qué te vas? (Why are you leaving?), this choreographic work explores the tight places between the individual and the collective, their effects and perils, and their complex ethical and political implications. Chorus is the last work Boán created in Cuba before moving to the U.S. to complete an MFA program. The work continued to tour for many years throughout Europe and Latin America to enthusiastic audience and critical reception.

Additional Links

Web cuaderno about DanzAbierta, Boán's Havana-based company.

Critical essay about Chorus Perpetuus by Vivian Taberas in Conjunto, Nº 124, En-Ab 2002, pp. 58-61.

Review of Chorus Perpetuus by Omar Valiño in La Jiribilla 

Published in Marianela Boán: Works
Monday, 15 November 2010 16:03

Ah Mén (2004)

Javier Cardona's dance/theater piece Ah mén, created in 2004, is an exploration of masculinity as a social construct. Through the recreation of visual, verbal and bodily texts, six dancer/actors perform the intricate networks of prescription, transmission and enforcement of normative masculinity as maintained by social institutions such as family, church, school and the state. By rendering evident the dynamics of power and violence linked to notions and expectations of masculinity in our collective unconscious, the performers provoke the audience to re-think our preconceptions of what means to "be a man."


icon Ah-mén (esp) (236.13 kB)

Published in Javier Cardona: Works
Monday, 15 November 2010 15:53

You Don't Look Like... (1996, 2003)

You Dont Look Like..., created in 1996, deals with themes of race and identity in Puerto Rico, paying special attention to racial stereotypes pervasive in popular culture and the entertainment industries. Issues of violence, discrimination and racism experienced by Afro Caribbeans are dealt with through the exploration of the relationship between bodies and politics of representation, here performed through experimental juxtapositions of photographs, dance, anecdotes, and direct interaction with the audience.


icon You Don't Look Like... (esp) (120.9 kB)

Published in Javier Cardona: Works
Monday, 15 November 2010 13:19

False Testimony (2006)

False Testimony is the first work in Boán's American Trilogy. This work expands her creative methodology "Contaminated Dance", by integrating real-time video as another "performer" in the work. False Testimony continues Boán's history of creative critical engagement with the political and social culture in which she lives. In this instance, she turns her attention towards the incursions of surveillance into private life and social relations, and the dominance of "images" in our understandings of ourselves and our surroundings.

From the program notes:

In False Testimony's exploration of life in the post-technological era, the central question becomes: what is the emotional link between humans? A videographer and musician use their respective tools--a camera and cello -- to experiment on two dancers, controlling and checking their reactions. Boxes are used as cubic video screens, producing a magical mixture of real and virtual bodies. Is it possible to look behind and untangle the projection screen or is it better to allow ourselves to simply be deceived by illusion?

Additional Links

Review in Cultura Mazatlán

Published in Marianela Boán: Works
Monday, 15 November 2010 13:14

Voyeur (2007)

Voyeur is the second work in Boán's American Trilogy. It continues the exploration, begun with the work False Testimony, of the possibilities and complexities of interactions between video images and the body. In this permutation, Boán gives the audience the power to "capture" the performers's images by allowing them to film the performance from sites on the periphery of the stage space.

From the program notes:

In an act of voyeurism, the audience films in real time the intimate life of a couple, complete with all of their boredom, paranoia and aggressiveness. Will the monotone perfection of domestic life in America drive them to desperate acts against themselves and the world?

Published in Marianela Boán: Works
Monday, 15 November 2010 13:07

Decadere (2009)

Decadere is the final work in Boán's American Trilogy. It continues the choreographer's explorations of the interactions between virtual and fleshy bodies, using the stage as her laboratory. Boán describes Decadere as "the dance of the crisis of the capitalist system." In the work, she cites two earlier works: Fast Food and El pez de la torre nada en el asfalto, which were both responses to the economic and political crisis in Cuba in the 1990s.

From the program notes:

  • from Latin: to decay

  • 1. to decline in excellence, prosperity and health.

  • 2. a gradual falling into an inferior condition.

  • 3. decline in or loss of strength, health and intellect.

Additional Links

Interview with Marianela Boán about Decadere with the Live Arts/ Philadelphia Fringe Festival, 2010.

Conversation with Marianela Boán about Decadere with Dominican journalist Camilo Venegas.

Published in Marianela Boán: Works
Tuesday, 24 August 2010 11:10

Aquilo de que somos feitos (2000)

Aquilo de que somos feitos was created over a period of two years of research and rehearsals, in 1999 and 2000, when the celebrations for the 500 years of Brazil's "discovery" where very present. One of the starting points was, therefore, to "discover" and to deal with issues such as citizenship, history, memory. How can art think the world, and how can these ways of knowing serve the world? In this performance the audience shares the same space with the dancers, in proximity and exposed to a dilated time, where movement happens extremely slowly, stimulating a different way of seeing that is almost "epidermic." The object of investigation is the body, the flesh, both aesthetically—what unexpected shapes can it produce, what different ways can it occupy space—and philosophically, how much is a body worth, it's labor, it's meanings? In this work the audience is co-author, assigning whatever meaning it wishes to the shapes the body makes and to the political and advertisement slogans the dancers say.

Published in Lia Rodrigues: Works
Friday, 16 July 2010 10:36

Interview with Dancing Earth (2005)

Dancing Earth is an array of indigenous dance artists who work as a collective under the leadership of Rulan Tangen, striving to embody a unique essence of Indigenous identity and perspective by creation and renewal of artistic and cultural movement rituals.

Tuesday, 13 July 2010 17:11

Encarnado (2005)

In 2003, Lia Rodrigues Companhia de Danças was invited by CEASM, the Centre for Study and Social Action at the Favela da Maré, for a residency at the Maré Culture House. Favela da Maré is one of the largest complexes of favelas in Rio de Janeiro, with a population of over 130,000. The initial material for this production was a series of questions: Is it possible to identify with those who suffer? How are we affected by our own pains? What are the things that really count in our lives? How can we break borders and recreate a common territory? How can dance interfere, or even exist, in the context of a reality as tragic as Brazil's? encarnado was created in the space of the favela keeping an open door policy, so that members of the community could watch rehearsals, and the dancers could interact with the community. The assumption was that the body, in contact with a new space, produces a new way of moving, of thinking, of generating new forms of organization.

Published in Lia Rodrigues: Works
Page 2 of 3
FaLang translation system by Faboba