Read my review about this exciting show and company at: http://dcmetrotheaterarts.com/2017/05/06/review-fronteras-door-desert-almanac-dance-circus-theatre-fringearts/
O público estava de pé. Algumas pessoas estavam dançando e cantando. Todo o mundo irradiava entusiasmo. O grupo de dança terminou seu concerto com um convite para o público: “Levantem-se! Dancem e cantem conosco!”. Eu lembrei de algumas palavras das canções familiares que tinha escutado no Brasil e cantado com eles. A energia do Balé Folclórico da Bahia era contagiosa — como não cantar, como não se mexer? Centenas de estadunidenses se comportavam como se assistissem a um concerto de rock e não a um espetáculo de dança! Mas tudo isso reflete a cultura brasileira.
O Brasil é conhecido por seu soft power. A cultura brasileira chega aqui nos Estados Unidos em forma de dança, de canção, de música, de cinema, de futebol. Com certeza, o Brasil tem muitos destaques nas artes plásticas importantes mundialmente, e no teatro e na literatura também. Sem falar da culinária e das telenovelas. Porém, são as expressões artísticas por meio da música que deslumbram o maior número de estrangeiros. Sendo a música uma “linguagem” universal, pouco importava que 75% (ou mais) das pessoas que assistiram ao concerto não compreendessem o português, e nem tivessem pisado no Brasil. A música as levou para o país na sua imaginação naquele momento.
Acho que são a qualidade e a variedade das músicas brasileiras (e para falar na música portuguesa, também o fado) e a sua singularidade que fazem que seja tão natural, tão orgânico, incluir a música nas aulas de Língua Portuguesa. Mesmo numa aula de iniciantes de Português, pode-se usar uma canção para mostrar pronúncia, ou para cultivar os ouvidos do aluno aos sons do Português. Dá para mostrar um vídeo de dança ou até ensinar movimentos de dança aos alunos que não conseguem falar muito, para uma lição de cultura. Com uma turma mais avançada, obviamente temos um sem fim de oportunidades para introduzir a música na sua aprendizagem. Uma das atividades que gostava muito era comparar a música nos filmes, Orfeu e Orfeu negro, com as da obra de teatro original Orfeu de Conceição de Vinicius de Moraes. Os alunos de Português são apresentados a grandes músicos e poetas brasileiros e, assim, aprendem melhor o vocabulário e mais palavras, analisam filmes, poesias e estrutura das canções. Sobretudo, podem ver como a música, e não somente as palavras faladas, tem a ver com a emoção e a expressão dos personagens nas versões brasileiras do mito grego de Orfeu.
Quando eu ensino sobre o Nordeste, sempre mostro vídeos das diferentes danças e suas respectivas músicas: forró, frevo, xaxado, etc. É uma cultura muito diferente do Sul e do Sudeste do país. Quando eles veem o xaxado, em recentes registros do Youtube, e como a representação do cangaço (especialmente Lampião e Maria Bonita) continua viva, eles compreendem e sentem que eram figuras históricas essenciais nessa cultura regional.
Uma das minhas atividades preferidas com música é explicar a literatura de cordel e o repente. Uso a canção “O que é a literatura de cordel” de Francisco Diniz. Essa canção explica a literatura de cordel numa canção estilo forró. Os alunos fazem sua própria literatura de cordel em grupos como projeto final. Durante a preparação, falamos sobre a história do cordel comparando com meios de comunicação modernos. Assistimos a vídeos sobre o cordel e o repente. Também , antes de escrever e recitar seus poemas, os alunos praticam e recitam poesias famosas e simples como repentistas, com pandeiros plásticos. Fazem modificações no tom de voz e na projeção dela com essas obras para sentirem-se mais confortáveis com o ritmo e usarem suas vozes. Assim, o aluno melhora seu conhecimento da cultura, sua capacidade de usar a língua portuguesa ao escutar e fazer a música ele mesmo.
Sou artista, então para mim, as artes são imprescindíveis para entender o Brasil, Portugal ou qualquer cultura. Aliás, as artes em seus muitos gêneros, às vezes, representam e manifestam os pensamentos de um povo e não somente ideias de indivíduos. Também surgem em resposta à turbulência política. Eu sei que muitos colegas gostam de tocar canções de MPB (Musica Popular Brasileira) especialmente Bossa Nova e músicas da Tropicália. Uma canção forte como Cálice, de Chico Buarque, dá arrepios em si por causa de seu arranjo e o significado da letra. Mas explorar a história da apresentação mostra como a censura da ditadura militar que começou em 1964 operava – cortaram o som quando ele e Gilberto Gil iam tocar a canção em Festival Phono 73, em São Paulo. No caso de Portugal, os alunos escutam Grandola, Vila Morena, quando aprendem sobre a Revolução dos Cravos, comemorada no dia 25 de abril.
Emprego a vida e a música da maestrina Francisca “Chiquinha” Gonzaga, para ensinar língua e História brasileira. A compositora nasceu em 1847, quando o Brasil era ainda monarquia e mantinha a escravidão. Morreu em 1935. Ela viveu num período no qual ocorreram importantes movimentos históricos no Brasil, como a Guerra do Paraguai, a abolição da escravatura, a Revolta do Vintém, a queda da monarquia, o início da república, o governo Getúlio Vargas…sem falar de sua própria história pessoal, riquíssima em acontecimentos, como a publicação de suas partituras, obras de teatros e sua intensa vida boêmia. Os alunos leem uma biografia juvenil dela, veem partes da minissérie, participam de um têm um sarau, e fazem outras atividades relacionadas à história e à música dela.
Acho que podemos transmitir uma parte da cultura lusófona a nossos alunos na sala de aula. Com certeza, essa experiência na aula de Português não equivale ficar num país lusófono e experimentar a vida e a cultura diretamente. Porém, às vezes nossos alunos não têm essa oportunidade, ou a aula é seu primeiro encontro com a cultura e a língua. Devemos fazer com que eles apreciem e sintam essa cultura, que ouçam nos ouvidos e no coração a música desses países. Assim, é uma maneira de comunicar — e daí a importância de nosso trabalho.
Next week I travel to Charleston, SC, to give a presentation with songs about the Brazilian maestrina Francisca “Chiquinha” Gonzaga. Chiquinha’s music is timeless–people are still dancing and singing “O Abre Alas”, and musicians around the world play compositions that she wrote in the 19th and early 20th century. Chiquinha is considered the “mother” of Brazilian popular music. Along with Joaquim Callado and others, she mixed African rhythms with European music to create something new. She was a woman before her time–the first woman in Brazil to conduct an orchestra and she wrote over 300 songs and musical pieces. She was an original founder of the SBAT, Sociedade Brasileira de Artistas Teatrais, which sought to support playwrights, lyricists and composers. Chiquinha is also known for her political activism. She was an abolitionist and an in favor of a republic.
To read my review of this performance, Feb. 17, 2017, please go to: http://dcmetrotheaterarts.com/2017/02/18/review-bale-folclorico-da-bahia-merriam-theater/
I rarely write about myself in my blog, but I have a concert coming up on February 12, 2017 in New York City and that’s my focus for the next week. The theme and title is “Amor Latino/Latin Love.” I’m performing this with two other singers, Celia Castro and Anna Tonna, and pianist/composer, Max Lifchitz. Here’s a link to an article about it: http://www.cbs8.com/story/34362238/amor-latino-spice-up-your-valentines-day
This concert is exciting to me for a few reasons. First, the opportunity to work with such engaging and passionate artists, and to explore this theme in Spanish and Latin American music. Some of the works that will be performed come from Spain, but my music this time is all from Latin America. I’ll be singing Claudio Santoro’s Canções de amor (1ra serie) and two of Francisca “Chiquinha” Gonzaga’s songs. Both of these composers are Brazilian and I am looking forward to presenting Brazilian music for the first time in New York.
But this article is supposed to be about Sor Juana set to music. For the third time I’ll be performing the duet “Me acerco y me retiro” which is roughly translated as “I approach and then I back away.” This duet was written for Anna and me by Max Lifchitz. Max is a composer/ pianist originally from Mexico. He’s made his home in the USA for a while now. We first performed the duet in a concert of art songs that we did for Cinco de mayo in New York in 2015, and again in November of 2015 in a retrospective of Lifchitz’ music.
Sor Juana is an interesting historical figure from the 17th century. Born in Mexico, which at the time was still part of Spain, she is probably the most important poet in its history. She was a brilliant woman, born ahead of her time. Too smart when women were not really supposed to be independent or intelligent. Little choices were available to such women, and they usually ended up stifling their intellect or joining a convent. Sor Juana ended up a nun, but was that really her desire?
Recently, channel 11 in Mexico has created a series about Sor Juana Inés, called “Juana Inés.” This series is now being played on Netflix, so there is a much broader audience. Here’s a trailer (in Spanish):
Me acerco y me retiro is an intense piece. As mezzo, contralto, and piano, we intricately weave the verse, mostly about an unrequited love, in melismas, consonant and dissonant harmonies and fierce piano interludes. Her poem ends (translation by Max Lifchitz):
A vivir ignorado
to live unobserved
de tus luces, me ausento
by your eyes, I now go
donde ni aun mi mal sirva
Where never pain of mine
a tu desdén de obsequio.
Need flatter your disdain.
In addition to the duet, Me acerco y me retiro, there will be a premiere of Lifchitz latest composition based on Sor Juana’s poetry, called Rosa divina. This is a solo piece for a soprano with piano, which will be sung by Celia Castro. I am hoping that with time these pieces, and others that Lifchitz might create, will give the world another glance at Sor Juana’s poetry in a different medium, through music.
Join us at the National Opera Center in New York City, February 12, 2017 3:00 pm (FREE!) or LIVE STREAMING online at https://www.youtube.com/user/NatOperaCenterLIVE
Paint the Revolution:Mexican Modernism, an exhibition of Mexican Art from 1910-1950 is an eclectic selection of paintings, works on paper, chapbooks, posters, magazines, photographs, video and sculpture. It includes the most internationally reknown Mexican artists of the early twentieth century: Diego Rivera, David Alfaro Siquieros, Frida Kahlo, José Clemente Orozco and Rufino Tamayo. In addition, there are less well known artists featured: Saturnino Herrán, Alfred Ramos Martinez, Francisco Goitta, Angel Zárraga, Manuel Rodríguez Lozano, Roberto Montenegro, Gerardo Murillo, Adolfo Best Mayard, Isabel Villaseñor, Leopoldo Méndez, María Izquierdo, Xavier Guerrero, Julio Castellanos, Luis Arenal Bastar, and others.
The painters of the Mexican Revolution and shortly afterwards, explored themes related to violence and war, rural life, industrialization, what it meant to be Mexican, as well as other themes. Most of the works are oil paintings and woodcuts, but there are some photographs, sculptures, pastels, watercolor and video of the gigantic murals. According to text in the exhibit, “Mural painting came to be seen as the quintessential art of the Revolution because of its accessibility.”
There are quite a few portraits in the exhibit, including self-portraits by Frida Kahlo, Dr. Atl (Gerardo Murillo), Siquieros, Isabel Villaseñor, and Adolf Best Mayard.
Both portraits show the use of Mexican elements. In “Portrait of Luis Guzmán” he wears a traditional sarape. Kahlo inserts a Mexican flag into her self-portrait, as well as what looks like an indigenous pyramid/building.
Many of the portraits and other works depicting people, are of indigenous people and/or campesinos. (rural people). As one of the rare pastel paintings in the exhibit, Siquiero’s “Peasants” stands out.
Rufino Tamayo paints indigenous figures often. For example, Man & Woman from 1926 and later Homage to the Indian Race. There are also a few Tamayo paintings in which he uses animals to represent violence and war.
This was my second visit during the day on a Wednesday to see Paint the Revolution and I had more time to view it. It was also less crowded than it was on opening weekend when I first went. There are many political posters, small booklets, pamphlets and magazines displayed. Woodcut prints were utilized in many of these, and they dealt with the Mexican revolution, rebuilding and World War II and fascism. Wall text explained, “Illustrated books were tokens of friendship and aesthetic communality among modern poets and painters.” These books are in display cases in the exhibit, and showcase the drawing (printing, lithograph) and poetry of the era.
My favorite paintings of Paint the Revoluion, were Siquieros’ Collective Suicide, Luis Arenal Bastar’s Woman Carrying a Coffin, and still lifes by various painters.
Despite being an exhibition of Mexican works, all of the wall descriptions are in English only, no Spanish. There is no audio guide either. I think the visitor experience would have been enhanced by an audio guide or short video/film explaining in more detail the political situation in Mexico during the Porfirio Díaz reign and the subsequent Revolution. Definitely for Spanish speakers AND learners who attend, written wall explanations in Spanish would have been welcome.
Paint the Revolution continues through January 8, 2017 at the Philadelphia Museum of Art. It moves on to Mexico City, Mexico afterwards. At the Philadelphia Museum of Art, to view is free for members, and no reservations are required. For more information and tickets, please visit their website: http://www.philamuseum.org/exhibitions/840.html
This is an interview realized digitally about the altar course that César Viveros teaches at Fleisher Memorial and a little bit about his artistic inspiration.
Celeste: I found out about you and your work through Fleisher Art Memorial. I saw an announcement about a course on altars for Day of the Dead. How did this course come to be? What will the students do in the course? Would you describe the materials that they will use?
César: The Day of the Dead altar course has started. It is a four-day intensive in which the students are introduced to the Day of the Dead tradition, which has become popular in the United States. This is the third year that Fleisher is working with the community around this holiday and this year I was invited as the artist who would direct the installation of the traditional Day of the Dead altar. So during four days we wanted to teach the workshop in which students could make their own mini-altars in the tradition of the larger ones for Day of the Dead. The students have designed the mini-altar based on their ideas and with simple drawings they begin to render the design. Normally they focus their design on a familiar member or friend who has left this world. Usually they construct a based made out of wood or cardboard that supports the composition, and then make the rest of the elements, which overall are made from wire, paper mache and paints.
Celeste: When did you begin to make art?
César: I always tell the story of my early years during the rainy season in Veracruz, Mexico. We would make deep holes in the dirt in order to burn or bury the garbage (organic and inorganic), because there was no municipal service that would handle it. So there was always a moist clay, very characteristic of subsoil in Veracruz. (One needs to note that in this area many vestiges of an advanced civilization have been found, developing this type of art. These civilizations were very old, centuries before the Spanish arrived in the Americas). It is precisely here that at the age of five, I began to experiment with constructing these clay artifacts as a way to entertain myself in my free time. I wasn’t able to move around much at that age obviously, so I traveled in my imagination. This helped me to create alternative worlds while I was kneading clay—making multiple forms that allowed me to have fun while I discovered things that were not academic—because of the isolation of our community, in relation to other cities that perhaps might have offered some kind of artistic education.
In high school, some teachers noticed that a friend of mine, my brother (Nicolás and José Nava), and I liked to draw and paint a lot. So they gave us the opportunity to do large paintings, portable murals that could be used as backdrops for festivals. Remember in Mexico that any occasion is a good one to have a party. Thus we were able to count on resources to develop these projects that I consider not so common in our limited area. With this background it might seem strange that I didn’t decide to study art or any related discipline, like architecture or graphic design. But as soon as I finished high school and a technical course at a national institution of public education, I decided to risk it and work in Petrolera de Campeche, looking for business opportunities, which in a way took me away from any inclination towards the visual arts.
However, in a couple of years working in the petroleum platforms in the Golf of Mexico zone, I had the opportunity to begin to paint murals on the barges of a company called Corporación de Construcciones de Campeche, in an informal way. My official work was to develop underwater activities as an industrial diver. It was at that juncture that I decided to seriously return to my true vocation. While working there, I began to take commissions for portraits and pictures commissioned by North American staff what were working in the Campeche area. As a result, each time that I was able to, I would make multiple murals in high schools in Veracruz, which helped me to define my style and my individual technique.
For more information about César Viveros, visit his Facebook page:
For more information about FLEISHER ART MEMORIAL and their events see:
Es una entrevista realizada en el espacio digital sobre el curso de altares que César Viveros enseña en Fleisher y un poco sobre su inspiración artística.
Celeste: Yo me enteré de Ud. y su trabajo a través de Fleisher Art Memorial. Vi un anuncio sobre un curso de altares para Día de los muertos. ¿Cómo surgió este curso? ¿Qué harán los estudiantes en el curso? ¿Puede describir los materiales que van a usar?
César: El curso de altares de día de muertos en Fleisher Art Memorial ha empezado, serán solamente 4 dias intensos en los cuales los participantes han sido introducidos a esta tradición de Dia de muertos, la cual ha cobrado gran auge en Estados Unidos. Este es el tercer año que Fleisher trabaja conjuntamente con la comunidad en estos festejos y este año fui invitado como el artista que dirija la instalación del altar tradicional de día de Muertos. Así que durante 4 días quisimos enseñar un taller donde la gente pueda construir sus propios ” altarcitos” los cuales son miniaturas simplificadas de los altares tradicionales. Los estudiantes han diseñado el altarcito basado en sus ideas y con dibujos simples empiezan a materializar su diseño. Normalmente centran su figura principal en algún familiar o amistad que haya partido al mas allá. Usualmente se construye una base de madera o cartón que soporte la composición y se procede a fabricar los elementos que en su mayoría son hechos con alambre , papel-mache (paper and corn base paste ) y pinturas.
Celeste: ¿Cuándo comenzó a hacer arte?
César: Siempre cuento la historia de mis primeros años cuando en la temporada de lluvias en la zona de Veracruz, México. Después de que la gente solía hacer hoyos profundos en la tierra para incinerar o enterrar la basura (orgánica o inorgánica ), porque no había un servicio de parte del ayuntamiento de la ciudad que lo hiciera, así que continuamente había barro húmedo , muy característico del subsuelo Veracruzano. ( Hay que notar que en esa área se han hallado muchos vestigios de un estado avanzado en el desarrollo de este tipo de arte, correspondientes a civilizaciones que sobresalieron muchos siglos antes del arribo de los Españoles al nuevo continente ) y es precisamente aquí que a la edad de 5 años empiezo a incursionar en la construcción de artefactos de barro como único medio para entretenerme en el tiempo libre que como infante se pueda tener. Las limitaciones que pudiese tener en cuanto el espacio para desplazarme a esa edad , las suplía viajando en el espacio imaginario. Eso me ayudaba a crear mundos alternativos mientras amasaba el barro dando formas múltiples que me permitieran divertirme mientras descubría cosas que no tenían ninguna influencia académica–debido al aislamiento de nuestra comunidad en relación con otras ciudades que tal vez pudieran tener acceso a algún tipo de educación artística.
En la escuela secundaria, algunos profesores se dieron cuenta que a un amigo, su hermano ( Nicolás y José Nava) y a mi nos gustaba dibujar y pintar mucho así que nos dio la oportunidad de pintar en gran formato para que pudiéramos hacer murales portables que se pudieran usar como fondos para festivales. Recordemos que en México cualquier ocasión es buena para hacer pachanga ( fiesta). Entonces teníamos la oportunidad de contar con recursos para desarrollar estos proyectos que considero no eran tan comunes en nuestro medio un tanto cuanto limitado. Con esos antecedentes podría aparecer extraño que no decidí estudiar arte o alguna disciplina relacionada con esa área como arquitectura o diseño gráfico. Pero en cuanto terminé la preparatoria y un curso técnico en un colegio Nacional de Educación Pública, decidí aventurarme a trabajar en el área de la zona Petrolera de Campeche, buscando oportunidades económicas que en cierta forma me alejaban de cualquier inclinación de la plástica visual.
Sin embargo en un par de años trabajando en la zona de las plataformas petroleras de la zona del Golfo de México, tuve la oportunidad de empezar a pintar murales en las barcazas de una Empresa llamada Corporación de Construcciones de Campeche , de una manera informal. Mi trabajo oficial era desarrollar actividades subacuáticas como buzo industrial. Es ahí donde decido retornar en serio mi verdadera vocación. Pues mientras trabajaba ahí, empecé a tomar comisiones por retratos y pinturas comisionadas por el personal Norteamericano que trabajaba en la zona de Campeche. En consecuencia cada vez que tenia oportunidad realice múltiple murales en escuelas secundarias en la ciudad de Veracruz que me permitieron definir mi estilo y mi propia técnica.
Para más información sobre César Viveros, vean su página de Facebook:
Para más información sobre FLEISHER ART MEMORIAL y sus eventos de Día de los muertos: http://fleisher.org/community-programs/dia-de-los-muertos/
Lace making is a very old art that was brought to Brazil by the Portuguese. Portugal is still known for its lace. In this tradition it is made with needles and with bobbins. Particularly in the Northeast of Brazil and in Santa Catarina, in the south, the lace-making tradition has been maintained.An example of bobbin lace making by Rosilândia Melo from Ilha Grande:
You can imagine my surprise when I saw lace samples from Brazil in Ann Hamilton’s habitus, a current exhibition in Philadelphia. The lace samples were located on the 8th floor of the Fabric Workshop and Museum with some other common objects made of texiles, like dolls, blankets and samplers.
Also in the exhibition are “commonplace books,” photos of textiles, and other cloth objects. These books also originated in Europe. People would collect sentences from books they had read, recipes, newspapers and magazine articles and put them in the commonplace books. Quite unique to the habitus exhibition, was the public participation. The public was invited to contribute their “common sentences” by internet. Anybody could submit a text about clothing or textiles (figurative or literal) . They selected some of the submissions and these were reprinted and made available on sheets of paper on the 2nd and 8th floors. The public is able to read them in the museum and take them home.
The exhibition links text and textile in the Fabric Workshop and Museum, but there is another part of it on the Delaware waterfront at Municipal Pier 9. There is a huge installation that is so creative and fun. Ann hung several large cloths in the warehouse. The public can make the cloths move by pulling on ropes. The ropes go through pulleys which are also connected to some apararatus that produce sound. In addition, there is other performance art in the space that includes spinning thread and unraveling a sweater. Lastly, the text is again joined with cloth by way of a large poem that is projected in the space. The poem is also exhibited in the Fabric Workshop and Museum in another format.
The artist, Ann Hamilton, always has been interested in spinning, weaving and textiles. With enthusiasm she speaks about these arts, that some have referred to as “crafts” throughout her career. Nevertheless, the artist has exhibited many important works: she represented the United States in the São Paulo Bienal in 1991 and in Venice in 1999. She has won various national art prizes and she teaches art at Ohio State University.
The exhibit, habitus, is a the Fabric Workshop and Museum in Philadelphia from September 17, 2016 to January 8, 2017. The Municipal Pier 9 installation is from September 6, 2016 to October 10, 2016. For more information, www.fabricworkshopandmuseum.org
With great admiration I write about the Duende Cycle’s performance of Bodas de sangre in the 2016 Philadelphia Fringe Festival. I attended on Sunday, September 18, 2016. This scrappy company recreated and updated Federico García Lorca’s masterpiece and it worked! The concept was created by Eliana Fabiyi and Tanaquil Márquez. Tanaquil Márquez also directed. The nimble cast really brought the play to life and they received a standing ovation at the end. Lorca’s language is not as poetic and strictly in verse as that of Calderón de la Barca, from the Golden Age, but its structure and Spanish language are still much more formal than what most Spanish speakers in the United States normally speak. Lorca called it “Poema trágico en tres actos y siete cuadros.” To juggle two languages (English and Spanish) in one production, is another feat. The cast, director and acting coach, Eliana Tabiyi, (also the sound designer) should be commended for the successful rendering of this very important and challenging script.
When I arrived at the Asian Arts Initiative, we were directed to stand and wait for the elevator. It took some time to get up to the third floor because the elevator only held 6 people. At the ticket table they ran out of programs, and we were informed the subtitles were broken. Since I am a fluent Spanish speaker I was not concerned about the subtitles. Before the show started they did manage to give out more programs. The program is quite special–it is made like a wedding invitation, which is very appropriate for Blood Wedding. This was one of many details that added authenticity and at the same time uniqueness to this production.
The original play is set in Spain, in a region with vineyards. This current production takes place in Miami. Although we tend to think of California as our wine country, there are quite a few vineyards in Florida. The set included a table and chairs with dominoes, which is very Cuban and Cuban-American. There were group dances–in the beginning to latin music–including hits by Gente de Zona, “La gozadera” (an extremely popular Cuban group) and Marc Anthony’s “Vivir mi vida.” During the wedding, there is another dance to “Despierte la novia”, which is sung acapella except for bongo drums. It was tinged with a flamenco rhythm. Lorca is so associated with the gypsy culture, that this scene seemed like an homage, a showing of deep respect for the original play and its author.
The set is simple, but extremely effective. The mound of dirt heightened the earthiness, the very visceral feeling of Lorca’s tragedies. It was also a way to create space in a very small area and bring nature indoors. It made sense when La madre comes down from the dirt hill after visiting the graves of her husband and son. It made the swamp believable in the third act as well. Lighting and costumes by Angela Coleman and David Reece Hutchison, were also appropriate and helped flesh out the different locations and characters.
Every actor in the ensemble was strong. Some of the actors convincingly interpreted more than one character. I especially liked the contrast between La Madre, Yajaira Paredes and La Novia, Aneesa Neibauer. Ms. Parades is obviously a veteran actor, and she has an electric stage presence. She played the mother as a sturdy matriarch. A suffering widow, yet one who maintains her dignity and commands respect. At the other extreme, La Novia, was a fragile young woman. Ms. Neibauer’s portrayal was very natural. This simple and naive bride made you feel sorry for her and believe it wasn’t her fault–when it fact she decided to leave her husband and run away with Leonardo. She could have not married him or she could have resisted Leonardo. I also must mention the fight between Leonardo, (Sidney Gantt) and El novio (Josh Tewell). It was SO realistic. I was expecting that one would really be stabbed and blood would spill. (Of course I breathed a sigh of relief when both actors stood up and took their bows at the end!)
Duende in Spanish has several meanings, but one of them is to have a superior talent, to represent the authentic soul of art. Duende Cycle showed that in Bodas de sangre. I look forward to their next offering!
Check out their Facebook page: https://www.facebook.com/TheDuendeCycle/