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Flamenco Reimagined: Olga Pericet’s punchy, elegant satire on flamenco clichés

Von Cristina de Lucas, 05 Juni 2018
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Veranstaltung anzeigen
“Pericet is a first class performer and dancer”
Rezensierte Veranstaltung: Teatros del Canal: Sala Roja, Madrid, am 3 Juni 2018
Programm
La espina que quiso ser flor o la flor que soñó con ser bailaora (Olga Pericet)
Darsteller
Carlota Ferrer, Regie
Antonia Jiménez, Gitarre
Pino Losada, Gitarre
Weitere Tanz Kritiken
Ambiciosa evocación de la Edad de Plata en el Teatro de la Zarzuela
Aaron Vincent, 28th January
Las sutiles estampas goyescas y el frágil entramado del retablo cargan con el peso de una relectura con aspiraciones oníricas que se torna pesadilla.
***11
The powerful presence of a star performer: Olga Pericet in La Leona
Graham Watts, 11th July
Costumes play a big part in the production but is her extraordinarily youthful athleticism and her intimate and absorbing performance that are most memorable.
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Un cuerpo infinito: a fascinating exploration of Carmen Amaya’s life
Cristina de Lucas, 26th May
Olga Pericet's choreography grasps the essence of of the exceptional flamenco dancer Carmen Amaya.
****1
Paso a Dos Perfection
Sam Quy, 27th February
Paso a dos is exactly what it claims to be – a perfect Spanish pas de deux or dance for two.
****1
Alegoría entre las sombras: la Alcina de Francesca Caccini
Leonardo Mattana Ereño, 4th June
La obra de Francesca Caccini sube al escenario en los Teatros del Canal con un reparto solvente y una ejecución musical brillante que contrastó con una escena que no terminó de funcionar.
***11
Un amor bajo el signo del claroscuro: Dido y Eneas en Canal
Leonardo Mattana Ereño, 17th January
Blanca Li propone una puesta en escena crepuscular, intensa y claroscural en la nueva producción de Dido y Aeneas.
***11
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Kritiken von
Carlota FerrerOlga Pericet
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Cristina de Lucas
Cristina de Lucas
After a career in the legal field where she combined her job as an Attorney at Law with collaborative roles in various local and international cultural enterprises, Cristina de Lucas turned to dance research and criticism in 2009, when she moved to London. She obtained her doctorate from the Department of Dance at the University of Roehampton (London). Her fully-funded thesis focused on the confluence between dance and narrative in the repertory of the British choreographer Kenneth MacMillan. Her research has received several awards, such a full Vice-Chancellor scholarship and the 2014 SDHS Graduate Student Travel Grant. She also reviews dance and cinema, contributing regularly to several publications in Spain and UK.