“Bestias” by Baro d’Evel Cirk at the Biennale Teatro 2016< Back
The gates of the French “nouveau cirque” open even wider, to rethink contemporary dance codes, the poetic dramaturgy of gesture and sound, a different relationship with the dynamics of clowning and acrobatics. Like inMazùt, in 2012, conceived for the stage, the purpose is to explore one’s own animal spirit, investigating the past and the present to try and understand – for better or for worse – where we are going. These characteristics are prominent in the new work by the young French–Catalan company, Bestias, produced in 2015. Conceived and directed, like their previous works, by Camille Decourtye and Blaï Mateu Trias, Bestias is a subtle and refined, intangible and moving story: a dream perhaps, made of fragments and games, inhabited by ballerinas and musicians from the early twentieth–century, by horses and acrobats that all appear together in choreographies with a hyper–contemporary style.
Created in collaboration with Maria Muñoz and Pep Ramis from the Mal Pelo company, and with the illustrator Bonnefrite, the production is a highly lyrical fresco: there isn’t the slightest hint of sterile virtuosity or mistreatment of the animals, just pure emotion. Who knows, it’s like bringing together Chekhov and Jacques Tati, the Fratellini brothers and Pina Bausch, Fellini and Paolo Conte: but these references are barely hinted at, and remain in the background. The performance reveals a totally different approach: the rarefied atmosphere of this creation is a significant artistic result, but first and foremost the product of a rigorous and determined process. So here is the ceremony: the audience is invited into the circus tent without the festive Carnival–like clamour of old circuses. This is an intimate world, hanging on a string, on a whisper: yet the theatrical and choreographic style is distinctive, the demand placed on the role of the spectator and individual, with his fragilities and imperfections, is an intense one.
Baro d’Evel Cirk – the company’s website reads – “likes to look into opposites, into interstitial spaces, into the in–betweens, the passages, the places of transformation in which one becomes something else, when the absurd relieves us from meaning. Because these are the paradoxes, the rubbing that put us at risk, and open doors”. And these paradoxes, in the very middle of a circus ring, become poignant moments of theatre. But the chapiteau–structure is the ideal place conceived by Decourtye and Tiras to develop their own code, to win their independence in the pursuit of their creative project.