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GURQUEL LEDERER Por Un Lado, Juan Javier Gardelia Se Presta PASTEUR 170, 1º PISO (1028) TEL sigue manteniendo. Después hay un mon- tón de gente que hace más de lo mismo en folklore, sin tratar de innovar. No va reno- vándose continuamente. Nosotros tratamos de tener una mirada diferente, con lo que cada bailarín aporta en los ensayos, para que se llegue a ver de una manera artística- mente diferente en el escenario”. Esta es una manera de buscar su propio es- tilo, y si bien aclaran que no son bailarines de flamenco, al unir las dos manifestaciones en el escenario -para su director- han logra- INSTITUTO DE DANZAS do crear este estilo personal. A·L·F·R·E·D·O J·U·A·N·A PRÓXIMAS ACTIVIDADES GURQUEL LEDERER Por un lado, Juan Javier Gardelia se presta PASTEUR 170, 1º PISO (1028) TEL. 4951-9189 CEL. 15-6620-2035 este mes a participar en un espectáculo de flamenco y folklore que tendrá su gira en www.lederergurquel.com Japón “somos cuatro bailarines y seis músi- cos, nos vamos durante un mes”. DANZA CLASICA Isaac por su parte, viajará durante dos se- Alfredo Gurquel, Juana Lederer, Walkiria Appelhans, manas a Alemania “para participar en un Geraldine De Crescenzo, Sonia Nocera, Romina Mancini, evento que hay allá. Estuve en mayo en Chi- Gabriela Nuñez, Alberto Retamar TECNICA DE PUNTAS: na, en otro evento”. Juana Lederer, Mariángeles Alé AVANZADOS E INTERMEDIOS: Mariángeles Alé Y Leonardo Santander completa sus trave- PRINCIPIANTES: sías: “hemos viajado con la compañía de Lorena Batista, Katya Pazanin PARA NIÑOS: Gabriela Nuñez, Mariángeles Alé tango Pasiones Company de Adriana Ara- gón (nosotros tres más otro integrante del ESTIRAMIENTO Ballet) durante cinco años, viajando a Italia, Alfredo Gurquel, Juana Lederer, Celia Montini yendo y viniendo. También viajamos con El ELONGACION Y ACONDICIONAMIENTO Potro Ballet, pero independientemente, hi- cimos una gira por Milán buscando quien CORPORAL POR BIOMECANICA nos produzca el espectáculo. Eso es lo que (Creado desde el año 1970 por el maestro Alfredo Gurquel) estamos buscando hoy día a día, con mucho PREPARACIÓN ESPECIAL PARA ACTUACIONES, sacrificio, para encontrar la forma de hacer CONCURSOS, EXAMENES E INGRESOS llegar nuestro producto”. Juana Lederer ORÍGENES DANZA CONTEMPORANEA Leonardo Gardelia comenzó a bailar en el Geraldine De Crescenzo, Romina Mancini, Ballet Camaruco de Comodoro Rivadavia “a Gabriel Contreras, Nadia Batista,Facundo Mercado los cinco años y después integré otro Ballet TÉCNICA MÜLLER: Mónica Fracchia ahí en el barrio, donde Hugo Jiménez toma- FLYING LOW: Mariela Salcedo ba examen, y donde empecé a estudiar para JAZZ ser profesor de folklore. Pero era muy chico PRINCIPIANTES - INTERMEDIOS - AVANZADOS y a los diecinueve años me vine a Buenos Manuel Vallejos, Daniel Bartra, Aires”. Carol del Castillo, Fernanda Mascaro Isaac asegura “Yo tuve acá al profe, mi her- mano Juan Javier. Y desde que tengo noción BARRE À TERRE bailo, estoy en la danza”, Juan Javier comen- Lorena Batista zó a estudiar con Estela Toledo, “cuando te- NIÑOS BABY CLASS · NIÑOS INICIACION nía cuatro años”. __BD Mariángeles Alé AGOSTO 2011 // BALLETIN DANCE / 37 TEATRO MUSICAL Judy Garland, Eterna Como el Sol Por Daniel Sousa Alejandro Ullúa escribió y dirige un homenaje a la gran estrella del cine y la música, interpretado por seis jóvenes sus pasos: “Pensá, me dijo un amigo, que a tu viejo antes lo veías actores-cantantes-bailarines. Nominada a seis Premios cuando podías y ahora lo ves cuando querés. Como esas películas ACE, entre ellos Mejor Coreografía, la obra esquiva los entrañables, que hemos visto más de mil veces… Ese fue el click clichés del género, en una atmósfera intimista, de gran que me impulsó a retomar la idea”, cuenta el autor y director. refinamiento Judy…Un Homenaje a Judy Garland es una obra de teatro mu- sical que hilvana canciones de distintos períodos de la vida de Quiso el destino que Alejandro Ullúa llegara, diez años atrás, la artista, sin ajustarse a una biografía formal ni ser un show de hasta el umbral de la casa de Londres donde vivió y murió Judy transformismo. Porque, claro, Ullúa le dio a este tributo un tinte Garland. La había conocido en el cine, mucho antes, de la mano muy personal y por ello eligió a un elenco compuesto por seis de su abuela, un día en que en la sala del barrio cambiaron la varones de distintas formaciones para realizarlo. programación por sorpresa y la Dorothy de El Mago de Oz lo con- “No buscaba grandes voces ni grandes bailarines, sino grandes quistó con su encanto y la dulzura de su voz. personalidades que pudieran entregar un plus de carisma, que Aquella mañana, en el coqueto barrio londinense, Ullúa anotó el reflejaran los aspectos que a mí más me seducen de Judy: la ele- hallazgo en su pequeña libreta, y también la experiencia posterior gancia, la fragilidad, la inocencia, cierta imperfección en la voz”. en un teatrito de Trafalgar Square donde la actriz había realiza- Así dio Ullúa con Eliseo Barrionuevo, Adrián Scaramella, Pedro do sus primeras presentaciones en vivo después del despido de Frías, Juan José Marco, Sebastián De Lellis y Marcos Rauch, en la Metro. “Tengo que hacer algo con esto”, murmuró. Una década quienes descubrió “esa llamarada” que hacía de cada presenta- después, la inesperada muerte de su padre lo hizo volver sobre ción de Garland un momento irrepetible. 38 / BALLETIN DANCE // AGOSTO 2011 La atmósfera de los años ‘50 y ‘60 se respira en escena Foto . Fuentes2Fernández PASIÓN POR EL JAZZ “El jazz de los años ‘40 es mi música favorita, por eso en esta obra quise homenajear a las grandes producciones cinematográficas de la Metro. Siento que es un estilo que conozco mucho y me apasiona”, explica Gustavo Wons, coreógrafo de Judy…, en diálogo con BALLETIN DANCE desde Nueva York. ¿Qué desafíos te planteó el trabajo? El espacio del teatro Molière es muy reducido, así que traté de realizar diseños que ayudaran a lograr un efecto de amplitud. Pero por sobre todas las cosas me concentré en contar la historia a través de la coreografía ya que los temas son en inglés y no todo el público los entiende. Si bien en el elenco no todos tienen el mismo nivel en baile, gracias a los ensayos se logró un excelente resultado. Esta es una obra simple, El director, rodeado por los jóvenes sin grandes pretensiones, que logra su cometido: evocar a Judy Garland, a quien ad- intérpretes miro profundamente, y emocionar a través de sus grandes canciones. Foto . Fuentes2Fernández AGOSTO 2011 // BALLETIN DANCE / 39 De Lellis, Frías, Scaramella y Marco: cuatro rostros para Judy En una atmósfera de gran refinamiento, acentuada por el diseño Foto . Fuentes2Fernández de vestuario de Mini Zuccheri y las luces de Marco Pastorino, van surgiendo sobre el escenario de la sala Molière, entre bailes Ullúa no siente la presión de estar haciendo “el gran homenaje” y melodías, los mejores recuerdos de la estrella. “Dejé de lado sus a Judy Garland. “No me interesa armar un santuario con velas adicciones, sus abismos, porque quería capturar esa capacidad sino mostrar lo ambivalente que era, tan frágil en la vida y tan que tenía Judy de hacer de una canción una pequeña obra de poderosa sobre el escenario”. teatro”, cuenta el creador. Los grandes artistas no pasan de moda, ¿verdad? AQUELLOS AÑOS Está bueno que en este mundo tan veloz y tan feroz no nos ol- El acercamiento de Ullúa al teatro musical tiene un origen com- videmos de ciertos referentes. La televisión de nuestros días crea partido: por un lado, su ligazón con el mundo de la ópera, género ídolos muy rápidamente. En aquella época dorada sólo impor- en el que dirigió unas cinco obras, especialmente del período taban el talento y el carisma. Ahora que tanto se juega con el barroco, y al mismo tiempo, su trabajo junto a Marikena Monti, poderío vocal, es bueno recuperar lo intimista de la voz de Judy, con quien creó Retrato en Blanco y Negro y Viejitos Chotos, dos el sentido de las palabras. Lamentablemente, hoy todos cantan obras muy recordadas. Lo mismo que sus Canciones de Cabaret, igual, acá y en la China. El arte se ha globalizado, pero también de 1996, un éxito inesperado en el hall del Margarita Xirgu. se ha homogeneizado. En Judy…, admite el director, intentó evitar el cliché de la comedia musical. “No quería estereotipos, por lo que les hice pensar mu- ¿Cuánto aportó al resultado final el trabajo de Gustavo cho a los chicos en la época en la que ella vivió, tiempos en los Wons en la coreografía? que existían la formalidad, la elegancia y la educación”. También el Muchísimo. El es muy minucioso y un apasionado de la filmo- resguardo de la masculinidad fue una demanda de Ullúa a los ac- grafía de los años ‘30, ‘40 y ‘50. De modo que cuando le hablé tores: “Que la gente pudiera entender un diálogo entre una madre del proyecto se sumó enseguida. De entrada nomás, pautamos y su hija aunque lo estén interpretando dos hombres… No había que no íbamos a reproducir las coreografías tal cual se ven en las necesidad de un subrayado amanerado para hacerlo”, refirma. filmaciones porque no tenemos a la Judy verdadera para plan- Aunque la obra recibió seis nominaciones a los Premios ACE tarla en el centro. Así que todo fue recreado. Aprendí mucho de (mejor music hall, mejor director de musical, mejor coreografía, Gustavo y del resto de los chicos: me enseñaron que es posible mejor vestuario, y dos revelaciones, Barrionuevo y Scaramella), soñar otro tipo de espectáculo. __BD 40 / BALLETIN DANCE // AGOSTO 2011 AGOSTO 2011 // BALLETIN DANCE / 41 Se Acaba Toda una Época Coreográfica Por Enrique Honorio Destaville 13 de enero de 1924, Villemomble (Francia) - 10 de julio de 2011, Ginebra (Suiza) Toda una época coreográfica se acaba en Francia con la muerte de Roland Petit, que no era tan pequeño como su apellido lo indicaba La primera impresión que tuve -al comunicarme su deceso mi amiga Mónica Menconi- fue la de tristeza.
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