Stage Revolution at the Grec Festival
The artistic universe of Ester Guntín has recently emerged in various cultural spaces, from the Sala Beckett to the Teatre Lliure, via the CCCB and the Gran Teatre del Liceu. Her versatility as stage director and choreographer is evident with each new production. His most recent work, ‘Quiso Negro’, premiered at the Grec Festival in Barcelona, reaffirms his position as a central figure in the contemporary stage scene.
A Dramatic Proposal That Goes Beyond the Award
Beyond being a project born for an academic award, ‘Quiso Negro’ stands as a benchmark of high artistic quality. Although some details could be polished, Guntín’s work stands out for its ability to diligently merge all the scenic elements, creating an experience that not only attracts attention but holds it.
Interconnection between Body, Sound and Image
Guntín’s stage proposal once again reveals his ability to integrate body, sound, image and concept. This conjunction is not perceived as a simple support between the elements, but as a vital fabric that elevates the viewer to a level of shared catharsis. With reference to the rites of Tarantism, the work delves into deep dimensions of human existence, looking for answers to the symbolic death of the body.
Reflecting on Death and Music
Guntín, in dialogue with experts on his podcast, explores the current meaning of tarantism, a medieval Italian practice that was believed to be healing through dance. This connection with the musical refrain leads to an inner journey, where the power of the body is revealed in its vulnerability and its renewed dynamics.
The Dynamics of Identity on Stage
The play moves into a new existential dimension, where the audience often gets lost in a reflection of itself. The performers, elegantly dressed, live together in this space created by Guntín, reconfiguring their identity through steps and rhythms, which we could well call the journey of the soul.
A Balance between Improvisation and Control
Considering the separation between dramaturgy and choreography, we can notice that this tension is present in ‘Quiso Negro’. The magic is in the chorus that is not only performed, but lived, thanks to the excellent work of the musicians and the scenography that creates an immersive context for the spectators.
Challenging Norms and Expectations
Although the initial refrain may seem long, its development culminates in a meaningful denouement. The staging, with a scenography that includes both Renaissance and Futurist elements, provides a poetic framework that supports the narrative of the work.
Ester Guntín: An Authentic Voice in Contemporary Theatre
With ‘Quiso Negro’, Ester Guntín reaffirms herself as a significant creator, notable for her sobriety and care in every stage aspect. It is not just a choreography, but a total experience that defies conventions, causing the audience to reflect on their own bodies and their existence.