That's the new show of Compas Company. It includes Michael Schneider as a guest dancer at this show. This time it took me a little time more than the usual to write about it. A crazy week, lots of nervous because of other things, not enough sleeping, not enough concentration and this show is very different. Although this show is very unique and I enjoyed watching it - this time it took me a little time till I figured out how to start writing about it. And I didn't receive a decent way to promote it here before watching.
So Compas Company. This time without live music, a thing which makes it different from most of their shows. It isn't the first and I know that a former show with a recording music will return to stages at February, the official publishing will come soon. Accept Mijal Natan, the manager of Compas Company and main dancer - the company dancers who takes a part at this show are Ayelet Shachar, Moran Ron, Lia Sheinfeld and Guerau Cabrera. A guest dancer for this show is Michael Schneider who I mentioned at the start. He made a little part of flamenco, but he's a young dancer with a back round of classic ballet and modern dance. He came mostly for dancing ballet and Clasico Español at this show.
The show itself starts with a duet of Mijal Natan with Michael Schneider. It's a new version of an old dance that Arik Alfassi made for the company for a former show. He also comes from ballet, but not the "real classic" type. The idea has been taken, they made a mix between steps that the company remembered and some new steps. It was fit to the ability of Michael Schneider. As far as I saw the original version long time ago - it looked familiar and different at the same time. Still it was interesting to see it this way.
Lots of this show was including Clasico Español. Most of it was Clasico Español. From time to time was a flamenco brake. There was a flamenco dance from a former show (Quince, if I remember correct) which is mostly of Moran Ron. Once again a different version. At the original version the other girls join and dance together while she do the opposite of them. Now she's always do her thing while the other young girls and Guerau Cabrera come and go to dance next to her for a moment. At the original dance she starts with taking off her flamenco shoes on stage. It starts this way at this version too, but there is a difference at the end. At the original version she takes her shoes and put it on again. This time Guerau Cabrera takes the shoes from the stage's floor and give it to her.
One more new version for a dance from a former show was a dance that originally took a part at the show Pavo Real. At the original version it was a dance that has started as a duet between Vlada Vest and Kirill Sivolapov. Mijal Natan has joined at the middle. Well, this time Vlada Vest doesn't take a part at show although was until recently at the company and probably will be back soon. Kirill Sivolapov was a guest dancer at two other productions of the company, but he never was a real member of the company. This time the duet has started between Lia Sheinfeld and the guest dancer of this production - Michael Schneider. All other parts has stayed the same.
A new dance that has made for this show was a dance with music by Johann Sebastian Bach. The start of it is a solo of Michael Schneider which gave him the freedom to show his ballet dancing. For a while at the middle the company danced flamenco by this music at the back while Michael Schneider didn't stop dancing ballet. The combination looked very interesting to my eyes. I think that ballet is also beautiful, but I don't have the chance to see it much and have much experience of it. I loved to see it now and see that it goes very well with flamenco. I guess that for other people it could look and sound weird (few years ago I could think it's a weird combination), but the way they did it looked very natural. I was amazed from watching the result. It was a reminder for me why do I love to watch dancing shows.
And coming back to Clasico Español - this show was including a dance that Mijal Natan made for a Piee of music called "La Vida Breve" of Manuel De Falla. She didn't make especially for the show, but this show brought it to stage. She didn't dance it on stage, the other dancer of the company did. And when I say that it's a new dance on stage but didn't made for this show I have an explanation. For the past two years, a little time after I have started to learn at her studio she has started to teach at one of the classes that I take at her studio some dances that came from Spain, made before flamenco and flamenco has some influence from it as well. For a long time it's Clasico Español. "La Vida Breve" was the first she was teaching. For making it for stage she still made few changes. It was exciting to see it from the side. I could have the chance to see on stage a dance that I learned (oh my God, am I in THAT high level?), to know that I learned it and see the little changes that has been made for the stage. It was a pleasure to see that although the time that has passed since - I still remember a big part of it (but still a reminder in case I will dance it again) and the fact I could see it isn't the same till the end.
At the end there was pure flamenco dance, a tango that made as a fin la fiesta. All the company was there - Mijal Natan herself and all her company. It took me a little time to remember from where do I know this dance. No, it wasn't at a former show. After a moment or two I could remember. Even at the classes of Clasico Español always finish with pure flamenco. Every class of Clasico Español we move over to 15-20 minutes of pure flamenco. That's a dance I learned myself at the same classes, probably not much after we finished with "La Vida Breve". This time few more changes. This time the difference isn't big. At classes we made all as a group. On stage some of parts at this dance they made together, but each one received a solo part. The same steps from classes, but not all as a group. All stayed on stage. While someone got a solo - others made palmas like in a tablao. And again - I was amazed to see it on stage and to know that I learned it. .
After watching it I got into the backstage to talk with the fellows. I know that Mijal Natan was a little stressed if she didn't make it a little too "heavy" for the audience. Well, no. It wasn't "heavy" in any way. I was different.
So Compas Company. This time without live music, a thing which makes it different from most of their shows. It isn't the first and I know that a former show with a recording music will return to stages at February, the official publishing will come soon. Accept Mijal Natan, the manager of Compas Company and main dancer - the company dancers who takes a part at this show are Ayelet Shachar, Moran Ron, Lia Sheinfeld and Guerau Cabrera. A guest dancer for this show is Michael Schneider who I mentioned at the start. He made a little part of flamenco, but he's a young dancer with a back round of classic ballet and modern dance. He came mostly for dancing ballet and Clasico Español at this show.
The show itself starts with a duet of Mijal Natan with Michael Schneider. It's a new version of an old dance that Arik Alfassi made for the company for a former show. He also comes from ballet, but not the "real classic" type. The idea has been taken, they made a mix between steps that the company remembered and some new steps. It was fit to the ability of Michael Schneider. As far as I saw the original version long time ago - it looked familiar and different at the same time. Still it was interesting to see it this way.
Lots of this show was including Clasico Español. Most of it was Clasico Español. From time to time was a flamenco brake. There was a flamenco dance from a former show (Quince, if I remember correct) which is mostly of Moran Ron. Once again a different version. At the original version the other girls join and dance together while she do the opposite of them. Now she's always do her thing while the other young girls and Guerau Cabrera come and go to dance next to her for a moment. At the original dance she starts with taking off her flamenco shoes on stage. It starts this way at this version too, but there is a difference at the end. At the original version she takes her shoes and put it on again. This time Guerau Cabrera takes the shoes from the stage's floor and give it to her.
One more new version for a dance from a former show was a dance that originally took a part at the show Pavo Real. At the original version it was a dance that has started as a duet between Vlada Vest and Kirill Sivolapov. Mijal Natan has joined at the middle. Well, this time Vlada Vest doesn't take a part at show although was until recently at the company and probably will be back soon. Kirill Sivolapov was a guest dancer at two other productions of the company, but he never was a real member of the company. This time the duet has started between Lia Sheinfeld and the guest dancer of this production - Michael Schneider. All other parts has stayed the same.
A new dance that has made for this show was a dance with music by Johann Sebastian Bach. The start of it is a solo of Michael Schneider which gave him the freedom to show his ballet dancing. For a while at the middle the company danced flamenco by this music at the back while Michael Schneider didn't stop dancing ballet. The combination looked very interesting to my eyes. I think that ballet is also beautiful, but I don't have the chance to see it much and have much experience of it. I loved to see it now and see that it goes very well with flamenco. I guess that for other people it could look and sound weird (few years ago I could think it's a weird combination), but the way they did it looked very natural. I was amazed from watching the result. It was a reminder for me why do I love to watch dancing shows.
And coming back to Clasico Español - this show was including a dance that Mijal Natan made for a Piee of music called "La Vida Breve" of Manuel De Falla. She didn't make especially for the show, but this show brought it to stage. She didn't dance it on stage, the other dancer of the company did. And when I say that it's a new dance on stage but didn't made for this show I have an explanation. For the past two years, a little time after I have started to learn at her studio she has started to teach at one of the classes that I take at her studio some dances that came from Spain, made before flamenco and flamenco has some influence from it as well. For a long time it's Clasico Español. "La Vida Breve" was the first she was teaching. For making it for stage she still made few changes. It was exciting to see it from the side. I could have the chance to see on stage a dance that I learned (oh my God, am I in THAT high level?), to know that I learned it and see the little changes that has been made for the stage. It was a pleasure to see that although the time that has passed since - I still remember a big part of it (but still a reminder in case I will dance it again) and the fact I could see it isn't the same till the end.
At the end there was pure flamenco dance, a tango that made as a fin la fiesta. All the company was there - Mijal Natan herself and all her company. It took me a little time to remember from where do I know this dance. No, it wasn't at a former show. After a moment or two I could remember. Even at the classes of Clasico Español always finish with pure flamenco. Every class of Clasico Español we move over to 15-20 minutes of pure flamenco. That's a dance I learned myself at the same classes, probably not much after we finished with "La Vida Breve". This time few more changes. This time the difference isn't big. At classes we made all as a group. On stage some of parts at this dance they made together, but each one received a solo part. The same steps from classes, but not all as a group. All stayed on stage. While someone got a solo - others made palmas like in a tablao. And again - I was amazed to see it on stage and to know that I learned it. .
After watching it I got into the backstage to talk with the fellows. I know that Mijal Natan was a little stressed if she didn't make it a little too "heavy" for the audience. Well, no. It wasn't "heavy" in any way. I was different.
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