TangoTeatro Theatre Company artistic director Marcelo Guardiola Av. Congreso 1920 Buenos Aires, Argentina www.tangoteatro.org www.losguardiola.com PA’ QUE BAILEN LOS MUCHACHOS (To Make the Boys Dance) In 1942 Enrique Cadícamo wrote for the music of Anibal Troilo the tango, Pa’ Tango Querido! que bailen los muchachos. Dear Tango! “To make the boys dance, “The one and only show of tango and mime! I’m gonna play you, bandoneón. The poetry in the lyrics of tango told through the magic of mime and the dance of tango. Life is a milonga” A hymn to tango, its people and its soul.” This number, inspired by the tango of the same name, tells of a night in a milonga Dear Tango! Is a show combining tango and mime inspired by the lyrics of famous tangos, born of the will to pay tri- (that is, a hall where people in Buenos Aires meet to dance tango. bute to tango, with an eye to the special form of its poetry and in its way of thinking. Through the magic of gesture Milongas are mainly divided into two types: the more homely ones to which mainly and dance, the different characters of the world of tango come to life: strolling musicians, daring artists, ladies of go established couples, and the the night, pimps, milongueros, each with their story and their destiny still to be told. Solas y solos (singles) to which singles go: in this last type it is common to see men and women seated separately at individual tables. Writers and performers Marcelo Guardiola y Giorgia Marchiori The way to invite a woman to dance is with a flick of the head, a cabaceo. When Direction Marcelo Guardiola a man and a woman’s eyes meet, the man makes this gesture as an invitation. PROGRAM All the tangos danced in this number are improvised and demonstrate how the tango is danced in the milongas in Buenos Aires. ORGANITO DEL SUBURBIO (Barrel Organ in the Suburbs) In 1929 Roberto Torres wrote for the music of Antonio Bonavena the tango, AMABLEMENTE (Amiably) Organito del suburbio. In 1930 Ivan Diez wrote the sonnet Amablemente in the local dialect, lunfardo. The great singer Edmundo Rivero, fascinated by the irony and the cruelty of this poem, "But all has now changed set it to music in 1963. Little organ in the suburbs, And the neighbourhoods move ahead “He found her in the flat and in the arms of another… And you have had to move away…" But with finesse without indignation He said to the pigeon: you can leave, This number, inspired by the tango of the same name, is paying homage to the The man is never guilty in cases like this.” first diffuser of tango in the streets of Buenos Aires, the barrel organ. In a Buenos Aires where tango was still an indecent and prohibited music, the bar- This number, inspired by the tango of the same name, tells of betrayal by a rel organ had the power to reach even the ears of those who did not wish to hear. woman and her fate in the ancient tango justice. A figure long since vanished, today the organ player only remains in the memory of the tangos dedicated to him. ANCLAO EN PARIS (Anchored in Paris) In 1931 Enrique Cadícamo wrote for the music of Guillermo Barbieri the tango, VIEJA RECOVA (The Old Market) Anclao en París. In 1930 Enrique Cadícamo wrote for the music of Rodolfo Sciammarella the tango, Immortalized by the voice of the great Carlos Gardel, this poem is testimony of a Vieja recova. glorious period for tango, when in the French capital there were to be found a great many Argentine artists. “And I had seen her as a boy out weaving fantasies With her dreams in full flight and her nights of champagne. “Drawn by the nomadic Bohemian life Poor thing! Who’d have thought of the end of her days I am, Buenos Aires, anchored in Paris And of the tragic, shameful charity they give her today.” Covered in troubles, pressed by demands, I conjure you from this country far.” This number, inspired by the tango of the same name, tells of a casual encounter: a beggar asking for alms in the street, a man takes pity on her and in the moment This number, inspired by the tango of the same name, tells of the adventures of an he gives her a coin they recognise each other. For a moment the images carry us Argentine immigrant in the Paris of the 1920s: he, a tango dancer, finds himself per- into the past and tell us how that beggar was once the queen of the cabaret. forming in shows dancing a tango so different to that danced in the dance halls in Buenos Aires… TANITA DE LA PROA (Proud Tanita in the Prow) In 1928 Vicente Martínez Cuitiño wrote for the music of Salvador Merico the LOS GUARDIOLA tango, Tanita de la proa. Marcelo Guardiola and Giorgia Marchiori, known artistically as Los Guardiola, are the major representatives of Buenos Aires TangoTeatro. Their shows have been “Proud Tanita in the prow seen in theatres and milongas around the world. Going to the Argentine Marcelo Guardiola is an actor, dancer, musician and theatre director. Don’t put on those airs and graces Born in Buenos Aires, in 1999 he created the theatre investigation, TangoTeatro, the ‘cause you could just run aground…” objective of which is the creation of a new form of show which integrates the music, the dance and the poetry of the tango. This number, inspired by the tango of the same name, tells of the journey by boat In 2003 he begins to work together with Giorgia Marchiori, dancer, actress, cho- of a young Italian immigrant (tanita in the local dialect, lunfardo), her arrival in reographer and Doctor of Philosophy, forming the duo Los Guardiola. Buenos Aires and of her meeting with a local Argentine rogue. In 2004, in Buenos Aires, they received the diploma Milongueros-bailarines: Nueva Generación (Milongueros-dancers: New Generation). In 2011, for the originality and distinctive us of tango in theatre, they have had to honour to be invited to the VIII Holstebro Festuge (VIII Holstebro Festive Week), organized by the Odin Teatret / Nordisk Teaterlaboratorium (Odin Theatre / Theatre Laboratory), Holstebro, Denmark, and directed by Eugenio Barba. Photos: Gustavo Cilla, Graphic Design: Carlo D’Andreis.