{"id":117707,"date":"2015-01-20T11:44:54","date_gmt":"2015-01-20T11:44:54","guid":{"rendered":"https:\/\/develop.mercatflors.cat\/blog\/?p=421"},"modified":"2023-06-15T09:43:14","modified_gmt":"2023-06-15T09:43:14","slug":"sobre-wim-vandekeybus-per-barbara-raubert","status":"publish","type":"blog","link":"https:\/\/develop.mercatflors.cat\/en\/blog\/sobre-wim-vandekeybus-per-barbara-raubert\/","title":{"rendered":"Sobre Wim Vandekeybus per B\u00e0rbara Raubert"},"content":{"rendered":"

Els<\/em> vaig veure dempeus, amb les urpes entrella\u00e7ades, els cossos al\u00e7ats en l’aire, <\/em><\/p>\n

les cues trenades amorosament; els vaig veure descriure lents cercles<\/em><\/p>\n

de vals per entre els coixins de molsa, agafats de les urpes.<\/em><\/p>\n

(Gerald Durrell,<\/strong> La meva fam\u00edlia i altres animals<\/em>)<\/p>\n

Animal de mil pelatges, Wim Vandekeybus (1963, Anvers) t\u00e9 recursos naturals per renovar-se un i mil cops<\/strong>, per\u00f2 celebra el 25\u00e8<\/sup> aniversari de la companyia tornant a la pe\u00e7a germinal What the body does not remember<\/em> (All\u00f2 que el cos no recorda), amb la que ens trasllada al 1987, quan cre\u00e0 la companyia \u00daltima Vez a Madrid. En aquesta ciutat s’havia trobat a desenes d’espectadors sortint espantats de l’obra de Jan Fabre De macht der theaterlijke dwaasheden<\/em> (El poder de la bogeria teatral) on feia de rei despullat, i va pensar que era un bon lloc on comen\u00e7ar de zero.<\/p>\n

Despullar-se no li costa, per\u00f2 ara ho fa a la seva pr\u00f2pia f\u00e0brica de creaci\u00f3 a Brussel\u00b7les, mentre busca noves maneres de combinar m\u00fasica, dansa, arts marcials, teatre, psicologia… N’havia comen\u00e7at els estudis universitaris per\u00f2 els va deixar a la meitat perqu\u00e8 eren massa racionals. A Vandekeybus, esperit ind\u00f2mit, li agrada l’altre cara de la moneda, l’instint, la bestialitat; no pas la forma sin\u00f3 la comunicaci\u00f3; no el raonament sin\u00f3 l’emoci\u00f3.<\/strong> I per aix\u00f2 d\u00f3na veu als ballarins fins ara muts dalt l’escenari a canvi de despullar-los de roba, m\u00e0scara i al\u00e8, vestits amb pura adrenalina. No en va el seu pare era veterinari rural i, quan havia d’atendre algun animal de part demanava al seu fill petit que l’acompany\u00e9s per introduir la maneta al ventre de l’animal, i aix\u00ed ajudar-lo a llevar.<\/p>\n

Per fer ren\u00e9ixer la pe\u00e7a What the body does not remember<\/em>, Vandekeybus ha buscat ballarins que no havien ni nascut aleshores. Han passat 25 anys i aix\u00f2 es nota, tamb\u00e9 en la t\u00e8cnica. Els que la varen estrenar ballaven per impuls m\u00e9s que per coneixement, i segurament per aix\u00f2 van aconseguir un impacte que encara ressona. En canvi, els int\u00e8rprets de la versi\u00f3 actual s’han format en les nombroses escoles de dansa contempor\u00e0nia sorgides a partir dels 90 que han ampliat els recursos interpretatius a nivells abans ni imaginats, i per aix\u00f2 ara nom\u00e9s calen 9 int\u00e8rprets per fer tot el que abans feien 10: esquivant, recollint, llen\u00e7ant, sentint, contactant… Moviments de necessitat i superviv\u00e8ncia que fan apar\u00e8ixer tot un m\u00f3n de perills assetjants.<\/p>\n

Vandekeybus forma part d’una generaci\u00f3 de creadors flamencs amb pres\u00e8ncia internacional. En nom\u00e9s tres d\u00e8cades, B\u00e8lgica s’ha convertit en un dels aparadors m\u00e9s brillants de la dansa contempor\u00e0nia. Pr\u00e8viament hi havia el cl\u00e0ssic del Ballet Reial de Flandes i el neocl\u00e0ssic del Ballet du XX\u00e8<\/sup> si\u00e8cle amb l’escola Mudra, de Maurice B\u00e9jart. All\u00ed \u00e9s on estudiaren bona part dels renovadors dels 80, com la minimalista Anne Teresa de Keersmaeker (1960) o la m\u00e9s narrativa Mich\u00e8le Noiret (1960). A banda, una s\u00e8rie de creadors es van identificar amb la transdisciplinarietat que, fent tombs, els portava de la teatralitat a la pura energia: Alain Platel (1959), Jan Fabre (1958), Sidi Larbi Cherkaoui (1976)… i Wim Vandekeybus. \u00a0Aquesta for\u00e7a de la dansa belga s’ent\u00e9n en bona part gr\u00e0cies al suport governamental i les subvencions a llarg termini que permeten una estabilitat i un impuls envejable<\/strong>, malgrat que recentment se n’ha proposat la reducci\u00f3 dr\u00e0stica.<\/p>\n

Caldr\u00e0 veure com evoluciona el nou marc econ\u00f2mic, per\u00f2 durant m\u00e9s d’una d\u00e8cada la dansa d’aquest petit pa\u00eds s’ha consolidat amb segell propi per b\u00e9 que variat. Com el propi Vandekeybus, amb prop d’una trentena de peces a l’esquena i sempre a punt per a noves aventures i apropiacions. Ha treballat amb vells i nens, amb cecs i animals, amb actors i m\u00fasics. L’inter\u00e8s per la fotografia el va dur a Body looting<\/em> (2012, Saqueig del cos) a posar un fot\u00f2graf dins l’espectacle; amb les imatges que feia dels ballarins es creava una hist\u00f2ria paral\u00b7lela dins la narraci\u00f3 de la pe\u00e7a.<\/p>\n

El cinema \u00e9s un altre dels seus mitjans d’expressi\u00f3 preferits. A Blush<\/em> (Rubor, 2002), per exemple, una projecci\u00f3 sobre una cortina de tires crea un fons aqu\u00e0tic on els ballarins es llencen i en surten un cop i un altre. Altres vegades aquests audiovisuals prenen entitat pr\u00f2pia, com el cas de Monkey Sandwich<\/em> (Llegenda urbana, 2011), que fou creat per acompanyar un actor en escena, per\u00f2 tamb\u00e9 es present\u00e0 a la biennal de cinema de Ven\u00e8cia. Enguany ha estat filmant una pel\u00b7l\u00edcula titulada Galloping Mind<\/em> (Ment galopant)sobre cavalls i nens. El joc -a estones infantil i arriscat, altres voltes er\u00f2tic i virulent- \u00e9s de vital import\u00e0ncia en les maneres del belga que, com la creativitat infantil, es complau en la destrucci\u00f3 tant o m\u00e9s que en la construcci\u00f3.<\/strong><\/p>\n

I aix\u00ed crea els seus propis mites per reinstaurar l’ordre dins el caos, com a What the body does not remember<\/em> amb la m\u00fasica de Thierry de Mey i Peter Vermeersch. A Nova York el 1987 es va endur un prestigi\u00f3s Bessie Award pel que van trobar que era una “brutal confrontaci\u00f3 de dansa i m\u00fasica en un paisatge de combat”. Avui la mateixa f\u00faria torna a escena. No baixeu la gu\u00e0rdia.<\/p>\n

B\u00e0rbara Raubert<\/strong><\/p>\n

\u00daLTIMA VEZ \/ WIM VANDEKEYBUS presenta What the body does not remember<\/em> al Mercat de les Flors del 29 de gener a l’1 de febrer dins del cicle #LandHol<\/a><\/span><\/p>\n

Bibliografia<\/strong><\/p>\n

Danseur Belge: Sidi Larbi Cherkaoui, Wim Vandekeybus, Alain Platel, Eugne Hus, Sam Touzani, Benny B, Gilbert Serres, Damien Jalet<\/em>. Livres Groupe, 2010<\/p>\n

Rosita Boisseau, Christian Gattinoni: Danse et art contemporain<\/em>. Nouvelles \u00c9ditions Scala, 2011<\/p>\n


\n<\/strong>Linkografia<\/strong><\/p>\n

Roberto Fratini al blog de Centdanses, sobre “Danses de la realitat”<\/p>\n

http:\/\/centdanses.mercatflors.cat\/5-la-realitat\/<\/a><\/span><\/p>\n

Philippe Guisgand: The Belgian contemporary dance: a dance between<\/em><\/p>\n

http:\/\/www.numeridanse.tv\/en\/thematiques\/214_the-contemporary-belgian-dance-a-dance-between<\/a><\/span><\/p>\n

Pascal Gielen, Rudi Laermans: Paradoxes Of The Dance Boom<\/em>, Ballett International Tanz Aktuell, 1997<\/p>\n

http:\/\/sarma.be\/docs\/1279<\/a><\/span><\/p>\n

 <\/p>\n

V\u00eddeos<\/strong>\u00a0<\/strong><\/p>\n

Wim Vandekeybus: Blush<\/em><\/p>\n

https:\/\/www.youtube.com\/watch?v=QtKUONLBP-8<\/a><\/span><\/p>\n

Wim Vandekeybus: Monkey Sandwich<\/em><\/p>\n

https:\/\/www.youtube.com\/watch?v=xU-5ZHDlBP0<\/a><\/span><\/p>\n

Wim Vandekeybus: Body looting<\/em><\/p>\n

https:\/\/www.youtube.com\/watch?v=zG9KTnu-lhQ<\/a><\/span><\/p>\n

Jan Fabre: De macht der theaterlijke dwaasheden<\/em><\/p>\n

https:\/\/www.youtube.com\/watch?v=aHaEQmR4BH8<\/a><\/span><\/span><\/p>\n

Ballets C de la B (Alain Platel). Fragments.<\/p>\n

https:\/\/www.youtube.com\/watch?v=BhDMuQBQ2wM<\/a><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

T\u00e9 recursos naturals per renovar-se un i mil cops…<\/p>\n","protected":false},"featured_media":117714,"template":"","categoria":[6498],"etiqueta_blog":[],"class_list":["post-117707","blog","type-blog","status-publish","has-post-thumbnail","hentry","categoria-temporada-2014-15"],"acf":[],"yoast_head":"\nSobre Wim Vandekeybus per B\u00e0rbara Raubert<\/title>\n<meta name=\"description\" content=\"T\u00e9 recursos naturals per renovar-se un i mil cops...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/develop.mercatflors.cat\/en\/blog\/sobre-wim-vandekeybus-per-barbara-raubert\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sobre Wim Vandekeybus per B\u00e0rbara Raubert\" \/>\n<meta property=\"og:description\" content=\"T\u00e9 recursos naturals per renovar-se un i mil 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