★★★★ “This is not the repetition of a tribute, it is not a ‘tango’ show, it is a question that seeks to generate another poetic, another language, another universe.” Such is the premise that inaugurates this original proposal of
Ollantay Rojas, embodied from a novel aesthetic, with the imprint of the music of Astor Piazzolla as a guiding aesthetic axis. As its name indicates, it is not at all tango in the traditional sense, although tango dynamics can be discerned in Rojas’s choreography. In an eclectic language, red he delineates micro-narratives exchanging his five dancers in duos, trios, quartets and ensembles. Clad in predominantly orange, brown and blue clothing and rigorous rubber slippers, the performers play with their own weight, shifting the axis of balance, intertwining, pushing, hanging on one another, permanently obeying a circular choreographic concept. More than an amorous or seductive encounter, the ‘tango’ (which is not such) becomes an indecisive flirtation of beaten hugs.
So much breaking of canons, so much departure from traditional tango, has its correlate from music. In 1955 Piazzolla he presented a decalogue where he traced the lines of his ‘new tango’, resisted and reviled by the most conservative sectors. In this show, the Piazzollian avant-garde is present through the inclusion on stage of the revolutionary quintet, heirs to the composer’s legacy, who provide the quality of his live musicians, albeit with unnecessary amplification in such a small space. In addition to having their separate ‘musical moment’, they actively participate in the choreographic scene, in a novel conjunction that would undoubtedly have pleased Ástor himself.
