The staging portrays a farm that shows animalized beings. Photo: Special
Inspired by Ninth Symphony by Beethoven, in the cruelty of the concentration camps and the Holocaust, the dancer and choreographer Raúl Tamez built the choreographic montage Ninth Symphony, contemporary dance, which will be presented at the Esperanza Iris City Theater on Saturday 28 and Sunday 29 November, at 7:00 p.m. and 6:00 p.m., respectively.
The show, which will be presented as part of the 250th anniversary of Beethoven’s birth, is a tribute to those who lost their lives because of their race, gender, sexual preference, religion and political ideology, ”explained Tamez.
It is a poetic act of justice for those who can no longer exercise their will; it is the cry of impotence of the kidnapped, the tortured, the political prisoners, the disappeared, the locked up, the evicted, the excluded, those who die of hunger or those who fight against chronic physical or mental illness, ”he added.
The Ninth Symphony It is a very powerful work, recognized the scenic creator, “because it was not only played during the fall of the Berlin Wall, but it also became the anthem of the European Union, in Herbert von Karajan’s version and has other counterpoints, such as the which was one of Adolf Hitler’s favorite symphonies.
The Ninth It is an ode to hope, to joy, to catharsis and the exaltation of being, but it does not do so from a one-dimensional place, but from despair, from misfortune and violence. Some theorists even tell us that the first and second movements are a kind of entrance to the gate of hell ”.
From that violent and complex place of listening, Beethoven portrays sad, melancholic and dying landscapes of the human being. “And in that context I treat a similar narrative on stage. In fact, the scenographic approach has nods to the holocaust and shows us before a concentration camp that portrays animalized beings. In fact, it is like a kind of farm, referring to Rebelion on the farm, by George Orwell, where there are 16 victims trapped who are violated by four executioners ”.
But one of the victims escapes and, paradoxically, the rest of those animalized bodies do not agree with him fleeing and seeking the answers to freedom. However, towards the third movement of the work, we arrive at the fall of the hegemonic and empowered system that will turn the executioners into victims and the victims into executioners.
The assembly, he concluded, will feature the sanitary measures implemented by the government of Mexico City and will present 20 dancers on stage.
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