After watching UNDUETRIO

That's the new show of Compas Company. It includes Michael Schneider as a guest dancer at this show. This time it took me a little time more than the usual to write about it. A crazy week, lots of nervous because of other things, not enough sleeping, not enough concentration and this show is very different. Although this show is very unique and I enjoyed watching it - this time it took me a little time till I figured out how to start writing about it. And I didn't receive a decent way to promote it here before watching. 

So Compas Company. This time without live music, a thing which makes it different from most of their shows. It isn't the first and I know that a former show with a recording music will return to stages at February, the official publishing will come soon. Accept Mijal Natan, the manager of Compas Company and main dancer - the company dancers who takes a part at this show are Ayelet Shachar, Moran Ron, Lia Sheinfeld and Guerau Cabrera. A guest dancer for this show is Michael Schneider who I mentioned at the start. He made a little part of flamenco, but he's a young dancer with a back round of classic ballet and modern dance. He came mostly for dancing ballet and Clasico Español at this show.

The show itself starts with a duet of Mijal Natan with Michael Schneider. It's a new version of an old dance that Arik Alfassi made for the company for a former show. He also comes from ballet, but not the "real classic" type. The idea has been taken, they made a mix between steps that the company remembered and some new steps. It was fit to the ability of Michael Schneider. As far as I saw the original version long time ago - it looked familiar and different at the same time. Still it was interesting to see it this way.

Lots of this show was including Clasico Español. Most of it was Clasico Español. From time to time was a flamenco brake. There was a flamenco dance from a former show (Quince, if I remember correct) which is mostly of Moran Ron. Once again a different version. At the original version the other girls join and dance together while she do the opposite of them. Now she's always do her thing while the other young girls and Guerau Cabrera come and go to dance next to her for a moment. At the original dance she starts with taking off her flamenco shoes on stage. It starts this way at this version too, but there is a difference at the end. At the original version she takes her shoes and put it on again. This time Guerau Cabrera takes the shoes from the stage's floor and give it to her. 

One more new version for a dance from a former show was a dance that originally took a part at the show Pavo Real. At the original version it was a dance that has started as a duet between Vlada Vest and Kirill Sivolapov. Mijal Natan has joined at the middle. Well, this time Vlada Vest doesn't take a part at show although was until recently at the company and probably will be back soon. Kirill Sivolapov was a guest dancer at two other productions of the company, but he never was a real member of the company. This time the duet has started between Lia Sheinfeld and the guest dancer of this production - Michael Schneider. All other parts has stayed the same. 

A new dance that has made for this show was a dance with music by Johann Sebastian Bach. The start of it is a solo of Michael Schneider which gave him the freedom to show his ballet dancing. For a while at the middle the company danced flamenco by this music at the back while Michael Schneider didn't stop dancing ballet. The combination looked very interesting to my eyes. I think that ballet is also beautiful, but I don't have the chance to see it much and have much experience of it. I loved to see it now and see that it goes very well with flamenco. I guess that for other people it could look and sound weird (few years ago I could think it's a weird combination), but the way they did it looked very natural. I was amazed from watching the result. It was a reminder for me why do I love to watch dancing shows. 

And coming back to Clasico Español - this show was including a dance that Mijal Natan made for a Piee of music called "La Vida Breve" of Manuel De Falla. She didn't make especially for the show, but this show brought it to stage. She didn't dance it on stage, the other dancer of the company did. And when I say that it's a new dance on stage but didn't made for this show I have an explanation. For the past two years, a little time after I have started to learn at her studio she has started to teach at one of the classes that I take at her studio some dances that came from Spain, made before flamenco and flamenco has some influence from it as well. For a long time it's Clasico Español. "La Vida Breve" was the first she was teaching. For making it for stage she still made few changes. It was exciting to see it from the side. I could have the chance to see on stage a dance that I learned (oh my God, am I in THAT high level?), to know that I learned it and see the little changes that has been made for the stage. It was a pleasure to see that although the time that has passed since - I still remember a big part of it (but still a reminder in case I will dance it again) and the fact I could see it isn't the same till the end. 

At the end there was pure flamenco dance, a tango that made as a fin la fiesta. All the company was there - Mijal Natan herself and all her company. It took me a little time to remember from where do I know this dance. No, it wasn't at a former show. After a moment or two I could remember. Even at the classes of Clasico Español  always finish with pure flamenco. Every class of Clasico Español  we move over to 15-20 minutes of pure flamenco. That's a dance I learned myself at the same classes, probably not much after we finished with "La Vida Breve". This time few more changes. This time the difference isn't big. At classes we made all as a group. On stage some of parts at this dance they made together, but each one received a solo part. The same steps from classes, but not all as a group. All stayed on stage. While someone got a solo - others made palmas like in a tablao. And again - I was amazed to see it on stage and to know that I learned it. .

After watching it I got into the backstage to talk with the fellows. I know that Mijal Natan was a little stressed if she didn't make it a little too "heavy" for the audience. Well, no. It wasn't "heavy" in any way. I was different. 

Friday morning, the workshop with Concha Jareño

Because of too many reasons I came almost at the last moment. With a taxi. I just got out from the taxi I heard someone is calling me. Idit came the same time. We went together to the building at Suzanne Dellal that includes the studio for workshops. I told her that I was the dresser a night before and will be again at Saturday night. Tonight watching from the hall (will be stories later on). She said that she dudn't try to be because she was sure it means all three nights and she wanted one evening to see it as well. Near the entrance to the building we met Sharon Sagui and.... Oh my... At the evening  before I was there to help her to get dress at show time. I hardly recognize her. Concha looked different. The change at the hair looked too extreme for me. Never mind, she already made the amazing impression on me - as a person and not only as a dancer. Idit and me got hurry to get in. Adva was there. Because of few things which happened recently (I won't write about it, I still have a lot of respect to her) I wasn't sure if she wasn't too happy to see me because of it, or is it just because of a day like this. The rude kid and his father came too. I wasn't happy to see them. I know he's just a kid but I really don't like him. And I was afraid about what will happen next with videos that his father will take (he gave me too many reasons to be stress about it, didn't fail once again). Still saying "hello" with the kid.

I was ready at the moment that wanted to start the workshop (on time). A woman who works at Adi Foundation who responsible that those workshops will take on the best side said that she needs to ask something first. There is a need to help Concha at dressing for the show tonight. Someone did it last night and will be tomorrow night, but tonight they are still looking. They are in a problem. After a while she said that of course the dresser will be paid for it. I took the job without to know they will pay, but when I received the answer that I have the job I've been told. One girl said that she may. I was sure it's a matter of time till she will ask me who I am. Normally she behave like it's the first time that she sees me, and even when I tell her she looks like I'm the first woman she meets and her name is Orna - never mind that my first name is very regular here. This time for a change it didn't happen. Another thing happened - I started to worry about the show... What would happen if they won't find another girl to replace me tonight as a dresser? Would I need to do it again tonight instead of watching the show? Would they give the show even if I won't be the dresser? At least I took my Ritalin for it won't disturb me for thinking about class as well. 

Many times at the workshops of Días de Flamenco starts in a very certain way: the woman from Adi Foundation ask the dancer about the palo that will be at class. She tells all what was the answer. This time there was no need to through it. Concha started to tell what did she prepare for us. She said that because it's three hours at morning time - she doesn't want to make it too hard or boring for us. She will do with us two different dances. We;ll start with a buleria, but not an ordinary one. THe music has been written by Bach. After that we'll do a tangos. We will change rows all the time for all could see well. In case she will forget it - she wants us to do it anyway. 

First steps of buleria. It some kind of warming, legs work as a start. After class I didn't feel my muscles stretch in a wrong way, just tired. And few more steps. Mijal came in a little late. She didn't know if she will come at all, but she did at the end. In a little late. She came to be next to me. At the first moment she could - she singed me for hello. Few more girls came after her. At first moment that I could - I told Mijal about the palos, all that Concha said includes the reason for two different dances. Still dancing without the music. No problem with Concha, the only problem was the people who came to workshop and got too close to her till it was difficult to see anything. We did change rows many times. When I got close to the mirror - there was still a some place to dance. The rude kid stood next to me. Too close to me. I was wondering if I should kill or move over for having some space. No place to move over. OK... I'll do my best.... Not much after we started to practice with the music. I usually not crazy for classic music till really don't like, but with time looks like Bach is an ordinary situation. There is a music create that he made that I know for years that he composed and I love although I don't know the name of music. This create is a different one and I could enjoy listening to it. Somehow I could dance although it was too crowded. With music I was a bit late with steps (no worry, Concha said it's very fast and difficult with music) and not sure I made all steps exact. Still dancing. 

We had few minutes of brake. All with mobile phone. So did I. 

Coming back to the buleria. Learning some more steps. After a while we've been asked to do it in two groups. Each one made it all twice. Mijal and me were at the second group that danced. Well... Somehow I missed taking a video, but looks I have from who to ask sending me. After each group made it twice - all once again. Two hours has finished very fast. 

One more brake, a shorted one. The rude kid asked me if I took a video of the buleria. I didn't. I didn't tell him that even if I did - he can forget that I will send him. Someone came for him with cameras and his little brother. Oh no... Cameras for the rude kid...!

When the last part has started Concha prepared the music. She said once again what would we have now - tangos/tientos. I took the first row when it still had some space. The rude kid stood next to me, even closer than he did before. Whatever. I will dance like he isn't there, if I will hit him by the way - his problem. We started the tangos. Some markajes were so clear it's in a counting of 4. It didn't take too long till I made a try to spread my hands as a part of dance and I felt that my right hand get stuck hard on something. The hit had a loud voice as well. The kid said he's sorry and move over. It didn't take long till he got too close again. I was hitting him again by trying to dance. After few minutes I found myself behind him. Really behind him. Insteas of seeing myself at the mirror I sae him although I was at the first row a moment earlier. It wasn't because I moved over, it was because it was very convenient to him. Now the "too close" was that in case I do one step forward I will step on him. He could see it at the mirror, after all I'm taller than him. I moved over, but moved my legs in a way that got stuck in him. This time I meant it. He didn't like it. Not much after he got too close to Concha. He was very behind her. There was a step to the back. The kid was dreaming and Concha almost ran over him by mistake. Oh dear, what a shame she missed the chance. I could enjoy watching it. Not much after Changing rows. All accept the rude kid. 

The class was about to finish. Once again all dance it in two groups. Once again I was at the second group, but this time I took a video. One last time all together. 

I still didn't ask for a photo with Concha. I rather ask again when she have her stage look. It means waiting for the second time that I will dress her. Still I came to her to thank her, wish her luck and remind her that I will be back tomorrow. 

After coming to lunch at my parents'  and after taking my dog for a walk - I got into Facebook. Ilan sent me a link at private. The rude kid was already uploading a video from the workshop. Yeah, I'm there too. I wrote him a public comment that in those videos are made for the memory, not for publishing. Somehow it change to a comments war about the palo. The rude kid thinks it was fandango. Are you for real...? I offered him to get between legs of others, just like he did half of time of the workshop. He was deleting all my comments. Also his answers. I mean  all accept one of mine and one of his about the palo. This way way it looked like he's teaching me. I was deleting him from my friends lists at Facebook. He was there because of mercy anyway. I found out that his profile is public. Somehow the video has been gone. So did the video he was uploading recently with the workshop of last year  

Bach Flamenco

C’est un dialogue inattendu que nous offrent ces deux artistes émérites : une rencontre magique entre les suites pour violoncelle de Bach et la danse flamenca.

Violoncelle : Raphaël Perraud
Chorégraphie et danse : Veronica Vallecillo

Réservations : 09 51 84 94 18

Théâtre Clavel

3, rue Clavel, 75019 Paris, France

+33 1 42 38 22 58

contact@theatre-clavel.com