Every Tuesday and Wednesday at 8 PM, the Martín Coronado room at the San Martín Theatre (Corrientes 1530) hosts performances of “La Tempestad.” This production is a choreographic adaptation of William Shakespeare’s play, created by Mauricio Wainrot. He first premiered this version with the Contemporary Ballet of the theatre in 2006, and it has been restaged by this and other companies since then. In this latest rendition, audiences can appreciate the current ensemble of this esteemed dance company, now led by Andrea Chinetti. Two standout dancers are Ivana Santaella and Lucía Bargados, who both portray the character Miranda in two alternating casts. The performance is set to music by Philip Glass and features set designs, costumes, and videos by the late Carlos Gallardo, a remarkable artist who passed away in 2008 and left behind a significant creative legacy.
In discussing their interpretations of Miranda, both dancers reflect on how literature and their personal insights shape their performances.
Santaella explains that Miranda is the daughter of Prospero, the Duke of Milan, who is betrayed and expelled by his brother. Miranda and her father find themselves stranded on an island after a shipwreck. To develop her character, Santaella read the original text, watched excerpts from theatre productions and films, and studied previous performances from 2006 and 2018. She describes Miranda as a character that offers a rich emotional landscape and extensive movement quality. Significant moments in the text, such as Prospero calling her “the cherub that guided him and gave him strength,” resonate deeply with her portrayal as Miranda grows from a child into a young woman who experiences genuine love for Ferdinand, the son of the King of Naples. Wainrot provides the dancers with the freedom to express their interpretation, as long as it aligns with the essence of the character.
Bargados adds that Miranda evolves from a child into a teenager. She explores the early years of her life, guided by her father’s supernatural abilities in the fantastical setting of the island. Miranda experiences wonder, learns, suffers, fears, seeks mercy, falls in love, and forgives alongside her father. Bargados aims to create a simple and sincere character, embodying the innocence and compassion of a young girl. She draws inspiration from various productions, including one by Penny Cherns and another directed by Lluís Pasqual, which featured Alfred Alcón as Prospero. She also acknowledges the influence of Silvina Cortés, a remarkable dancer who left a mark on the Contemporary Ballet by playing Miranda in 2006.
Both dancers agree on the thematic depth of the choreography and the story. Santaella believes that the core of the work revolves around forgiveness. The choreography is physically and technically challenging, requiring a strong focus on lines and weight distribution. There is also considerable partner work and intense group sequences that demand a lot of energy.
Bargados highlights the exploration of human themes such as betrayal, the ambition for power, compassion, revenge, and the restorative power of forgiveness and love. The element of magic intertwines with themes of fate and freedom. She adds that Mauricio’s choice of music is always exquisite and enhances the beauty of the piece, which blends neoclassical and contemporary styles with dynamic movement.
Reflecting on their personal and professional ties to dance, Santaella notes her early passion, which led her to study under many instructors, including years at the Colón Institute and the Contemporary Dance Workshop at San Martín. Now, after 18 years with the company, she seeks to discover new ways to express herself and connect with teaching.
Bargados shares that dance has been her life since childhood. She began with body expression at four, enrolled in the National Dance School at eight, and also participated in the San Martín Contemporary Dance Workshop. Chinetti invited her to join the Contemporary Ballet in 2012. She balances her dance career with projects in music videos, commercials, and performances while pursuing studies in event production and cultural administration.
In gratitude to the San Martín Ballet, Santaella appreciates the years of experience and learning she has gained from colleagues and mentors. She hopes for more opportunities for dance in general, both within and outside the company, advocating for additional performances and better scheduling.
Bargados expresses appreciation for her artistic and personal growth at the Ballet, emphasizing the privilege of working in an art form with limited official support in Argentina. She advocates for greater recognition as a stable company and continued progress towards the rights that other ballets have achieved.
Source: https://www.perfil.com/noticias/espectaculos/danza-con-traicion-venganza-y-amor.phtml
