The choreographer and dancer Carmen Cortes (Barcelona, 1958) presents until the 16th his most recent production in the Canal Theaters from Madrid. Hand in hand with Lorca and fully succumbing to the magic of the Silver Age, Turn heart! Dancing with Lorca in the Silver Age Cortés delves once again into the most personal universe of the poet from Granada and builds a work in which Carmen Amaya, Encarnación López ‘la Argentinita’, Sánchez Mejías, Carlos Morla, Edgar Neville coexist, playing with time and space… through of the powerful words of Federico himself. The show features dramaturgy by José Ramón Fernández and the choreographer, music by Gerardo Núñez, Mariano Díaz, Zigalet and Enrique Morente, and costumes by Tony Benítez and Isabel Núñez.
Lorca’s well-known verse –hidden in his poem ‘Veleta’, from 1920– that gives title to the work of Carmen Cortés, announces an emotional and courageous montage that the choreographer presents with the professionalism that characterizes her. Cortés looks for Lorca through a game of mirrors that, he points out, “can be shared by very different eyes and ears, that can be completed in the gaze of all”.
It is not the first time that Carmen Cortés has been inspired by literature to conceive her works; recently they were the poems of Sor Juana Inés de la Cruz, and previously La Gitanilla de Cervantes or La Celestina… but Lorca periodically reappears in his work, perhaps because both combine popular and new languages in their art; what she herself defines in him as “the impossible Lorca”, alluding to his so-called “impossible theater” and looking for certain contrasting aspects in the poet’s work: the joy of his laughter compared to the dramatic aspect of his work.
The bailaora, with strong roots in the most traditional flamenco, founded her company in 1983 and since then she has elegantly played between her racial origins and the avant-garde that she uses on stage. In Turn, heart! the choreographer incorporates audiovisuals by Emilio Valenzuela, lighting by Ion Anival and sound design by Carlos González.
“If Federico is not one of them, neither will the dance,” warns the choreographer, referring to this show, in which part of a transformed meeting at Carlos Morla’s home where Lorca, recently arrived from New York and Havana, would read the pasterns of The public that he had just written during his trip. Lorca, the choreographer reminds us, “liked to be friends with his friends and share everything he was writing with them, even if it was just a sketch. But they are perplexed because they realize that it is going to be very difficult to be able to represent that work”.
Along the a succession of ten scenes, Carmen Cortés presents us with a fantasy encounter in which the flamenco group ‘la Argentinita’ dances alegrías, Sánchez Mejías’s dreams are manifested in a capote dance and Lorca attends –sometimes as a ghost, other times reading his texts , although always guided by the tragic destiny of his death– to an end escorted by his ‘Nana de Sevilla’, which he himself accompanies on the piano.
The choreographer says that with this show, in which we will recognize the ‘Romance de la monja gitana’ or scenes from The curse of the butterfly, have wanted to record “all those men so different that Federico García Lorca left reflected in his words” but also, he insists, “those who accompanied him in his games”. It is clear that the bailaora is very satisfied with having been able to gather a cast of worth for this work. It will be accompanied by a very young dance corps who faces the challenge of representing characters as emblematic as those who appear here, musicians who alternate jazz with flamenco or artists like Daniel Navarro, who plays Ignacio Sánchez Mejías.
The influence of Mario Maya in Carmen Cortés’s dance is notable, but she keeps the dance close to its roots and boasts an extremely expressive arm movement, a nervous tap dance and a brave use of silence that leaves room for the inspiration of her dance -in this case, Lorca- reaches the public.