Choreography invites us to reflect on human connection after the pandemic

From the musical work Love Songs Waltzes op. 52by Johannes Brahms, the Brazilian Fernando Melo created the choreographic proposal Noyollo Opus 52which invites us to reflect on human connection after the Covid pandemic in 2020.

The dance, music and opera work, which will premiere on July 10 at the Teatro de la Ciudad Esperanza Iris, is an emotional journey of self-exploration and empathy by the Compañía Danza Visual.

In an interview with The DayPatricia Marín, founder and co-director of the dance group, commented that the co-production with choreographer Fernando Melo, former director of the Göteborgsoperans Danskompani, had its origin in the pandemic, We wanted to talk about how we would reconnect, we didn’t really know what would happen with meetings and reunions with families and people at work..

For this project, the Brazilian choreographer based in Sweden developed an idea around human connection, because he wanted the audience to experience the feeling of connection. “He always thinks about why in his creations and in this case he managed to convey to all of us who worked on the piece that passion for connecting with the audience from a very particular place. Basically it is the idea of ​​reunion after what we experienced in the pandemic, that feeling of seeing and feeling each other.

Fernando Melo has a good way of working with bodies, he doesn’t design movement, he works thinking about architecture and focuses on the scenographic element and here he uses a rotating stage.

He explained that artist Mauricio Ascencio designed the platform that rotates 360 degrees, along with wooden panels that weigh around 15 kilos each, to make an analogy of the rotary movement.

The wood panels help strengthen Melo’s dramaturgy about human connection and the division that arose precisely in the pandemic.added Patricia Marín.

According to the co-director, the protagonist on stage is between two panels, She is isolated in her imagination and sees people on the other side of the wall, but she cannot connect with them in a natural way..

On stage, Marín added, the panels move from one side to the other, creating different spaces and scenarios. Melo transforms the environment and generates poetic images with the protagonist who seeks to connect with those on the other side of the wall.

A wonderful symbiosis is created. The dancer moves in a very particular way, there is a kind of bodily connection with the wood and with the protagonist. It is a very sophisticated and subtle union, with many details. For example, in one scene we are filming and we all connect from the head.

Under the direction of Fernando Melo, Patricia Marín, Leonardo Beltrán and Rogelio Marín, this work redefines Brahms’ music in a captivating and unique way. The singers memorized the score in order to be able to move around the stage.said the co-director of Danza Visual.

In Noyollowhich means heart in Nahuatl, features dancers Patricia Marín, Anivdelab Ponce de León, Samantha Nevaréz, Tlathui Maza, Jonathan Alavés and Fernando Zárate, as well as singers Paola Danae, Wendy Oviedo, Rogelio Marín, Pablo Aranday, and pianists James Pullés and Karina Peña.

The play will premiere on Wednesday, July 10 at 8 p.m. at the Teatro de la Ciudad Esperanza Iris (Donceles 36, Centro Histórico, Metro Allende). It will then be presented on July 27 at the Museo Barroco de Puebla, and on August 2, 3 and 4 at the Teatro Raúl Flores Canelo of the Centro Nacional de las Artes. The season will end the last week of August, at the Sala Miguel Covarrubias of the Centro Cultural Universitario.