White Lee | Blanca Lee, dancer: “I am not afraid that technology will make art lazy: live performance is as old as humanity and only then can it be enjoyed”



All life is a dream (Granada, 1964). And what dreams make real. She left rhythmic gymnastics on the eve of becoming an Olympic champion, because she dreamed of dancing. He dreamed of New York and at the age of 17 he was already in school Martha Graham. Hip-hop, classical, opera, circus, electro and flamenco. He has danced, acted, and directed everything, including movies and a rock band. For 3 years she was a director Canal Theatres and the Madrid Dance Festival. Wow Liceu for Choreography for Opera Dido and AeneasDirected by William Christie and his company Les Arts Florences.

Wyatt Lee are all dances?

Yes, I have always been against the restrictions that sex imposes on us. Since I was a little girl I have been switching from rhythmic gymnastics to flamenco, African dance, hip hop, jazz, classical, contemporary and urban dance such as breakdancing or electro. And that diversity is what interests me. Later, you discover folk dances and you realize that any of them, if well interpreted, are beautiful and movable: dance is the ability to move the body to limits beyond the technique of conveying feelings. This is why I always encourage choreographers and young people to take the liberty of creating however they like: it will always be their dance.

Shows where you do everything and without consultants,” I know it all,” he once said of his work. And is it all because of that choppy, hectic life you lead?

He’s only supposed to know a choreographer about dance, but I’m a very cultured person, I’ve worked a lot with directors of theatre, cinema, circus, opera and other musical performances such as latin, jazz, contemporary, mldr; I have learned a lot from artists from many different disciplines. At the age of 12 I joined the national rhythmic gymnastics team, and competed internationally until I was 15, when I opted for something more creative and less competitive. And at seventeen I was in New York at Martha Graham School.

Does being the third in a big family make? Does it get you up or does it step on you?

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It’s not about getting involved, but about learning to be independent and find your space, and also to be involved and live in a community, and that teaches you to lead the difference. I love the feeling of belonging to a group, the way I feel in my company (which is based in Paris), among the dancers and assistants who have been with me my entire life, even 25 years. This allows you to trust and delegate so much that sometimes they even go on tour without me. Also, yeah, I feel like family, second family, I love being family.

Blanca, what makes her so beautiful and cosmopolitan Dido and Aeneas? His affection perhaps?

Yes, it is also a universal story, one of love, betrayal, heartbreak, madness, and suicide. They are timeless feelings that happen here in a very short period of time. He also talks about a powerful being who has been publicly given away, which has a lot to do with today’s world of social networks, where everything is exposed; of beings who live under observation, with such a strong public image, that they have to ask permission to feel it.

It has transformed the figures into towering stone statues, so is it the contrast between the classic and the contemporary that the ballet troupe represents?

They are divine extraterrestrial beings, who focus their emotions in their voices and with a few gestures (they are stones). Dancers express their earthly and human emotions; That is why their movements are based on the diaphragm, where emotion arises physically. The ballet corps and the choir express feelings that cannot be said in words, and what is not written in the text.

They added an introduction that is a wonderful hymn to nature and musical ingenuity, was it a deliberate and vengeful choice?

It was a suggestion from director William Christie to open the work, which is a very short opera. And we combined it in such a way that when Dido comes onto the scene, a lot has already happened; The choir and the dancers have already conveyed to the audience the happiness of falling in love. The belief that the Baroque was able to admire and praise nature in this way tells us that we cannot turn away from it.

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Is it difficult to put such an intimate piece on the Liceu scene?

Liceu can raise doubts about the sound, so collected, but when something is done well, it can be performed on any stage. Once the first minutes pass, the audience has already conditioned their ears and soul to this very intimate minimum.

Blanca, did you manage to make the Teatros del Canal as you planned to do it, a theater with a European perspective?

I am very happy with what we have done despite the fact that 3 years of unimaginable complications, but the team gave it all. The decision was made that culture is very important in circumstances like this and we have been one of the very few theaters in the world that have kept our doors open during the pandemic. This allowed us to receive prominent international companies, and thus we opened the Teatros Deal channel to the world. We continue to create and present works by artists from national companies. And the audience, who responded wonderfully, came to watch the performances to forget the harsh reality for a while. The result is that we are in a better position than we were before the pandemic: We have a very diverse schedule, a very diverse audience, and yes, we have become a house of creativity open to all possible forms of expression, especially creativity. This uses technology.

Aren’t you afraid that technology will end up swallowing you up or making art lazy?

afraid? Not at all, because nothing can compare to a live show, something as old as humanity; Indeed, music has restored the importance of living. The online show helps us discover what we didn’t know, spreading creativity, but to enjoy it, you have to watch and listen to it live.

Blanca, how do you get along with the Ayusu clan?

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I prefer not to answer this now.

Madrid, stronghold and capital of the right, places in its cultural institutions mostly artists and intellectuals of the opposite sign. Is right wrong in art and thought?

I think we must separate culture and art from the political direction or reflection of both. I have lived in France for many years and there are directors of large cultural institutions or festivals who are independent, no one asks them what their political brand is, and they stay in their positions working outside the political fluctuations, because seeing the results needs continuity. This is democracy.

You are very actively involved in the Académie des Beaux Arts, France, how about your academic recognition in Spain, we are still a country that one would envy and doubt?

The truth is that I feel loved and appreciated in Spain, where I have also received awards such as the Gold Medal for Merit in Fine Arts (2009).

Didn’t you feel the question in these years that you led the Teatros del Canal and the Madrid Festival en Danza?

No, not at all: I felt much affection on my return to Spain.

“Dance is very effective for social inclusion. It serves existence in another way,” he said. How else?

The strength of dance is participation, and when it comes to kids who struggle with cultural integration, which I’ve worked on a lot, sometimes discovering certain skills they weren’t aware of, or gaining the respect of the group, that can change. Even his way of studying, his way of life becomes more secure.

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Blanca, to become great, do you first have to dream about it?

There is no doubt that dreams are the foundation of everything we do: just believe them. presented the world’s first fully virtual presentation, Paris ball, which we had to be ahead of technology, and it was just because I dreamed about it. “You can’t” It’s the one thing I don’t want to hear about me: Most inventions were once dreams.

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