|
|
 |
|
Choreographer
Carlos Acosta
Music
Miguel Nunes
Performer
Carlos Acosta
|
|
| |
|
|
|
Sadler's
Wells
15
- 26 July 2003 |
|
A mysterious
man sits at the side of the street watching
a local dance troupe. A smile broadens
across his face as he notices that their
earthy movements cannot compare with
his classical training. He catches the
leader's eye and a dancing 'face-off'
begins. He jumps into the air performing
perfectly choreographed pirouettes whereas
the dance leader gyrates around the
stage to squeals of delight from his
adoring pupils. They laugh at their
leader's opponent whose conservative
and strictly timed ballet movements
appear ridiculous to the young crowd
of onlookers.
The man,
Tocororo, was sent away at an early
age from his rural home to ballet school.
His father didn't want to send him but
thought that it was the best way to
give his passionate son a bright future.
The boy lived up to his father's aspirations
for him as he grew into an extraordinarily
talented ballet dancer and moved to
the city to seek his fortune. Yet the
bustling city lives by a different set
of rules, rules that he must either
dismiss or accept. In dismissing the
city he would be walking away from a
woman he loves and in accepting it he
would be entering into an unpredictable
future, which would go against his father's
wishes. He must find in himself the
strength to choose between two worlds.
Carlos
Acosta plays the talented young Tocororo
in his own choreographed work of the
same name, at Sadler's Wells. He is
a superb ballet dancer, yet here attempts
to combine his enchanting talent with
modern Cuban movement. The story pokes
fun at his classical education yet it
would be impossible not to appreciate
his brilliant talent and as a result
this weakens the story. He is so good
it seems utterly unbelievable that any
spectator could ridicule such strength
and power combined with great delicacy
of movement. The piece though is trying
to say more about Cuba than Acosta.
It gives an insight into the island's
people, culture, and especially their
huge passion for life. He concentrates
on showing how strongly the Spanish
and African traditions influence all
areas of life and how one needs to appreciate
this in order to understand Cuba.
As a
project this may at times seem to be
a little over-ambitious, especially
in the attempt to combine classical
ballet with Cuban modern dance. However,
this isn't enough of a criticism to
stop the pundits lauding Acosta as the
next Nureyev. A title which I believe
is well deserved.
Elizabeth Shenton |
|
|
|
|
|
|
|
|
