Limón Dance Company: polvo en el escenario

limon

(Mex) Los pasados 29 y 30  de mayo, con un tradicional programa de repertorio, la longeva Limón Dance Company se presentó en el Teatro de la Ciudad Esperanza Iris. A pesar de la gran expectación que se había generado al respecto, literalmente hubo polvo en el escenario. Pero no precisamente por el duro zapateado que los estupendos bailarines pudieron ofrecer como demostración de la técnica limón, sino por el rústico montaje escénico yel descuidado vestuario.

La función incluyó las obras Para todo hay un tiempo (There is a time), que data de 1956; seguida de El traidor (The traitor), estrenada en 1954; y La pavana del moro, cuyo estreno mundial fue en 1949 y que desde entonces es una de las obras más conocidas del coreógrado José Limón, mexicano de nacimiento y estadounidense de profesión.

Quizás por ese título de “mexicano” que de manera sistemática se le ha adjudicado a José Limón, el público se mostró por un lado, ansioso, espectante, contemplador y al final de las obras, agradecido; y por el otro, confundido, pues la esencia de “una compañía fundada por un mexicano” con la cual se le dio promoción, quedó sólo en eso, en esencia.

No era para más, pues el título del programa, Volviendo a sus raíces, hizo en efecto, homenaje a las raíces de la danza moderna de José Limón: la técnica de movimiento y la filosofía teatral que tiene como sustento la puesta en escena en escala dramática. El valor artístico de Limón, sin duda, ha sido de los más trascendentales para lo que hoy conocemos como danza contemporánea (la de él fue moderna).

Justo por su trascendencia, es que la Limón Dance Company, con sede en Nueva York, ofrece demostraciones de lo que fue, en su momento, revolucionario. Decimos demostraciones porque el montaje de estas obras no se ofrece actualizado, remasterizado, ni mucho menos reinterpretado o variado.

La razón es sencilla: estas obras fueron creadas por Limón bajo una visión artística que en su proceso de creación se nutrieron de los bailarines con los que en ese entonces  trabajaba, , él mismo interpretaba algún papel de la obra. Una vez consumado el proceso creativo no queda más que su representación. Claro está que a poco más de medio siglo del estreno de estas obras, a las mismas se les encuentra caducas. No hay remedio. Si se actualizan, por sutil que sea el cambio o la intervención en el diseño de vestuario y/o escenografía, por ejemplo, deja de ser moderna, deja de ser Limón.

Bajo estos parámetros la Limón Dance Company conserva la tradición de presentar piezas de repertorio.

Pero el que sean piezas de repertorio no le resta responsabilidad a la compañía de cuidar la producción: lavar los elementos de utilería y conservar en buen estado los vestuarios para que además de que se ajusten a los cuerpos de los bailarines, no saquen polvo en el escenario.

Por desgracia la técnica Limón – con el respectivo mérito a sus mentores, Doris Humphrey y Charles Weidman – sólo pudo ser obvervada con detalle en algunos solos de Para todo hay un tiempo (obra inspirada en el Eclesiastés con sus respectivas variaciones), pues en las demás piezas, el estilo teatral del vestuario, original de Pauline Lawrence, no encaja del todo con la complexión de los bailarines de la actual compañía.

El mismo descuido de producción ocurre en El traidor (reminiscencia al traidor Judas Iscariote), pero con auxilio, a nuestro pesar, de un diseño de escenografía original de Paul Trautvetter e iluminación de Steve Woods, que hacen más opaco el ya de por sí oscuro vestuario de los bailarines. Parecen éstos últimos, sin ánimos peyorativos, bufones de la corte.

En cuanto a la obra cumbre de José Limón, La pavana del moro, (variaciones sobre el tema de Othello), el montaje de la compañía busca ser un símil, lo más idéntico posible, a la obra estrenada el 17 de agosto de 1949. Pero pasan por alto un pequeño detalle: José Limón, el maestro, el coreógrafo, el genio de la danza moderna, él mismo, interpretaba el papel dancístico-actoral de Otello. Y en esta ocasión el único personaje que sobre sale, gracias a que el vestuario es menos pomposo, es el de Yago, interpretado por Jonathan Fredrickson. Del resto de los personajes no podemos decir mucho. Tal ves sí lograron una ejecución perfecta, pero debido a lo holgado de sus prendas resultó difícil apreciar su talento.

RL

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