The refined taste for the visual-scenographic aspects of the shows, the combination of irony with a light dramatic breath, a mood over which the sensuality of the tango tradition hovers. These are some of the key aspects of the style of Nucleodanza, a historic Argentine company founded in 1974 in Buenos Aires by Margarita Bali and Susana Tambutti. A degree in biology and a second artistic life as a sculptor for Bali, a diploma in architecture for Tambutti demonstrate the multifaceted interests of the two choreographers. Both danced with the famous Argentine company of Oscar Araiz, later signing for Nucleodanza, between one and the other, about forty titles. Among their successes is the choreography for the film “Tangos, El Esilio de Gardel” (1985), winner of a Special Jury Prize at the Venice Film Festival. Margarita Bali’s works stand out for the care with which the choreography is set in scenic spaces with intriguing and pictorial details, frequently enriched by the projection of videos. In “Dos en la cornista” the male couple dance of the two protagonists is doubled, even tripled by the images told on the big screen that see the two dancers dancing between walls and balustrades in a game of unity and continuous diversification between video choreographies and live sequences. In “Dobiar mujer por linea de puntos”, also by Bali, two everyday objects such as a small table and a chair, distorted by a surreal design, are the support base for Gabriela Prodo’s deductive and meditative dance. Scenographic awareness is also proposed in “Tilt”, a solo conceived by Bali and signed together with Ines Sanguinetti. Performed at the Festival by Anamaria Garat, “Tilt” is a picture of ordinary life told with the distance of a choreography on the transformation of everyday objects into something other than themselves. The blue curtain hanging on the wall thus becomes the dancer's dress, enveloping her during the slow twists that make the protagonist crawl on the pink wall, where an empty frame hangs. Placed around the body, it will also become a "dress", suggesting to the performer new ways of living the "normality" of a life spent within the domestic walls, allowing herself to be captured by the different atmospheres evoked by a score that unites John Lurie with the theme of "La Cumparsita". The other two pieces scheduled at Oriente Occidente are by Susana Tambutti, author among other things of one of the most ironic and transformist works of the company, "La Punalada". At the Festival she presents "Como un pulpo", a piece with a lucid technical-dramatic development. A man and a woman turn around a large rectangular table to "Reactionary Tango" by Carlo Blay. Their paths continue diametrically opposed: the two ignore each other. As the piece progresses, the two get closer, until they find themselves dancing an aggressive couple dance together, in which the tradition of tango emerges frayed and angry. Brand new is “Muerte annunciada la guion”: a trio that involves two dancers and an actor. The different approaches to death in the great academic tradition are reviewed with humor, from the natural end of “Morte de Cigno” to the fatal pains of love in “Giselle” and the sacrificial rites of “The Rite of Spring”.
