Tempestad: Coreografía y dramaturgia.

tempestadA medio camino entre la danza y el drama, en el puente del tiempo que separa expresiones artísticas del siglo XVII con las nuevas corrientes del teatro contemporáneo llega hasta nosotros con aires cosmopolitas una obra que rescata los aspectos más sobresalientes de la última obra de William Shakespeare: La Tempestad. Al mismo tiempo nos da muestra del movimiento Ankoku Butoh, iniciado en Japón en pleno siglo XX. Así es como Natsu Nakajima, directora artística de Tempestad, de la mano de Gerardo Trejouna, director y actor de la misma puesta, retoman el tema de Shakespeare y le inyectan una dosis de modernidad, agregando a la dramaturgia una coreografía e incluso una breve participación cinematográfica.

Los creadores afirman que “Tempestad no es un montaje de la obra Isabelina; no es una adaptación ni una relectura. Es un abierto delirio acerca de las ideas de la última obra de Shakespeare”.

Un delirio de la última obra de Shakespeare representada bajo preceptos artísticos nacidos en Japón por latinoamericanos. Por un lado la obra presenta las influencias originales de La Tempestad de Shakespeare y por otro las nuevas corrientes del teatro de la actualidad. Se despliega una rica participación multidisciplinaria en el escenario y una amalgama de artistas del ámbito internacional. Participan en el proyecto artistas de Japón, México, Gran Bretaña y Brasil.

La Tempestad, última herencia de Shakespeare, fue estrenada el 1 de Noviembre de 1611 en el Palacio de Whitehall de Londres. Dicha obra fue concebida por el dramaturgo por la influencia de su tiempo. El imperio Inglés comenzaba con la colonización de América y precisamente la temática de la obra en gran parte es la relación entre colonizadores y colonizados, representados por los protagonistas Próspero y por Calibán, dominador el primero y “salvaje” aborigen el segundo. En la época de su estreno el público debió reconocer en Próspero el carácter humano y racional, digno de un espíritu benévolo; mientras que en Calibán al incivilizado y pagano que tenía que ser educado en la fe y en las costumbres occidentales. Este es uno de los aspectos que cambian en la nueva puesta. El público de hoy, en vez de mirar con desdén a Calibán, sentirá cierta simpatía por él, e incluso una nostalgia de algún pasado olvidado pero arraigado en la sangre.

El movimiento Ankoku que se introduce en esta nueva puesta nació como corriente artística en Japón a finales de la segunda guerra mundial, mientras el pueblo del sol naciente se estremecía ante los horrores heredados a Japón con los ataques nucleares. Butoh: la danza hacia la oscuridad, el origen de la expresión corporal fue buscar un nuevo cuerpo que vendría después de la guerra. Esta manifestación es considerada por algunos como un punto medio entre la danza y el teatro; lo cierto es que en sus inicios no fue plenamente aceptada por la sociedad de Japón, ni tampoco por el teatro tradicionalista japonés, sus fundadores fueron Kazuo Ohno y Tatsumi Hijikata. Estos dos artistas fueron expulsados del festival en que presentaron su primera obra Butoh: Kinjiki (Colores prohibidos), obra en el que se toca el tema de la homosexualidad.

En su juventud Natsu (coreógrafa y dramaturga de la renovada Tempestad) fue miembro fundador del movimiento Ankoku; el cual pretende terminar con los hábitos para permitir la libertad del ser, la espiritualidad y la danza, que en ocasiones es casi interna, la palabra se subordina a la creencia oriental: cuerpo-mente/cuerpo-corazón.

Llegamos a la participación de Gerardo Trejoluna, director-actor de la puesta en escena, quien comenzó a trabajar en el proyecto desde el año pasado. Actor mexicano que llegara a la Universidad Veracruzana a estudiar actuación, para luego convertirse en un iconoclasta de la escena mexica contemporánea. Ha presentado su trabajo en Bogotá, Bilbao, Chicago, Panamá, Praga, Barcelona, Nueva York y Cádiz. En 2007 recibió una beca de la UNESCO para realizar el espectáculo Pofton ou ce qui a forgé mon âme en Senegal y Gambia.

En el reparto también figura a Clarissa Malheiros oriunda de Porto Alegre, Brasil. Es una de las actrices principales del teatro mexicano contemporáneo. Egresada de la prestigiosa escuela de Jacques Lecoq en París, colaboró con las compañías inglesas Talking Pictures, Tottering Bipeds y Kaboodle. Desde hace más de diez años radica en México, donde ha trabajado con numerosos directores, entre los que destaca Juliana Faesler, con quien fundó “La Máquina de Teatro”. Para está actriz es importante el fondo poético que se esconde en cada ser y que es expresado a través del cuerpo y cómo éste es el primer contacto empírico que tenemos con cualquier persona.

Los acompaña Jessica Sandoval coreógrafa y bailarina, quien ya había colaborado con Trejoluna en Impresiones en el ánimo, además de ser la mente creadora de la puesta Antropía, bien recibida por la crítica el año pasado.

Con todo este equipo se consolida Tempestad, rica en sus orígenes y aún revolucionaria, nos hace cuestionarnos: ¿Qué es la magia? Voces en la oscuridad pierden su timidez y las ondas emiten un ¡efímero!: Magia es algo más allá de la ciencia, magia es poesía: poesía y teatro; danza y música… éstos esconden magia y la cantan, la dicen, la seducen, nos muestran nuestra existencia al desnudo y el significado de nuestro presente. Tempestad nos hace cuestionarnos: ¿Somos tripulantes de una gran embarcación perdida? ¿Luchamos sin fe que nos arrope y aquel hombre primigenio –él del mito– murió para darle la corona al conquistador que busca y busca sin encontrar? ¿Aquél que levanta las piedras, descubre su ciencia, esclaviza a la naturaleza y ésta parece sumisa ante el poder del sujeto, de la conciencia?

La obra se presenta en el Teatro El Galeón del Centro Cultural del Bosque, detrás del Auditorio Nacional. Funciones lunes y martes a las 20:00 hrs. Hasta el 9 de Marzo.

RL/CC/CO

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