“There were ghosts that returned to earth to hear his phrases,
“Hubo espíritus que retornaron a la tierra para escuchar sus frases,
As he sat there reading, aloud, the great blue tabulae.
Mientras él, sentado, leía en voz alta la gran tabla azul.
They were those from the wilderness of stars that had expected more
Eran aquéllos que provenían de lo más desierto de las estrellas, los que habían anhelado más”
“There it was, word for word,
“Allí estaba, palabra tras palabra,
The poem that took the place of a mountain”
El poema que ocupó el lugar de una montaña”
Wallace Stevens, Collected Poems
Although these poetic fragments were a starting point for this new ballet, something that inspired a mutual sentiment it also held true in our earlier collaboration Cautiva, which had left us hanging from that very point that allows us to name some concepts with the same name. Those points of clarity sketched the double nature of the first note and its evaporation in the movement. Later on, we took care of the mysterious play of alternations, which fix the poetic both in dance and in music. And so, from that moment on, each one invented his own way, and whilst one said ’to impulse’ the other said ’to increase’; and if one said ’rotate’ the other would rather say ’hang from a point’. And in this way, the senses could be so crossed that in a board of equivalences ’to open’ would be ’to forget’, ’to close’ is ’to repeat’and ’nothing’ is ’nothing’. ’Obsession’ is ’obsession’ and ’fountain of silk’ is ’something which cannot be seen, but which achieves a command’. Those and others have been our terms. They remain hidden/submerged, in the same way that the city forgets its building and offers its streets or corners as though they had been built long ago.
Nacho Duato and Alberto Iglesias
Vladimir Nemtanu (violin)
Christian Ifrim (viola)
Javier Paixariño (flute);