Garcia, whose dreamlike sign and the special speed of the dance are often emphasized, both for the performers and for the observers, now returns to the East West with “Eco de Silenci” and “La Nit Transfigurada”, on great music of the 20th century, a challenge that sooner or later is taken up by all young authors, once they have crossed the threshold of early maturity. For “Eco de Silenci”, best choreography at the second Suzanne Dellal International Competition in Tel Aviv, where it also won the first audience prize, Juan Carlos chose the first movement of “Symphony No. 3” by Henryk Gorecki, which expresses the desperate pain of a man in the face of tragedy, through a multiplicity of actions, just as happens in everyday life. “Notte trasfigurata” is the story of a disappointed, deceived and pregnant woman who meets a second man capable of welcoming her with her unborn child, to the music of Schönberg, a score already used by great masters of psychological ballet, such as Antony Tudor (“Pillar of Fire”, 1942) and Jiri Kylian (“Transfigured Night”, 1975). Garcia says he was also inspired by the use of this touching music in cinema, as a background to many love stories, ideal for giving the breath of the soul to the tensions that arise from the contact between the feeling of the composition and the emotion of the movement. A contrast, articulated in the solos and duets of the first part, and in the trios of the second, which manifests itself in the differentiated gestural quality of each performer and in the luminous virtuosity of the rapid turns, for a dance full of inner anxiety.
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“Eco de silenci”
Gorecki’s Third Symphony is an echo of the silence of thousands of silent, stunned observers. It cannot soothe the pain of anguish. The choreography contains a multiplicity of data and actions in parallel. Sometimes there are details that escape the attention of the viewer, as often happens in life. I did not intend to create a piece tailored to the music, but a dialogue. Dance and music go hand in hand. They indicate contrasts, contradictions, antagonisms.
“La nit transfigurada”
The piece develops and revolves around the thin line of emotional situations contained in the music. At the same time it has a great power of cinematic evocation; many Hollywood composers have been inspired by this music to underline the love dialogues in many films. The choreography is a constant dialogue of tensions between score and movement and proposes contrasts between the sound world and the visual world to create highly emotional atmospheres. Juan Carlos Garcia
