| O http://www.danzanet.com.ar/index.php?option=com_content&view=article&id=92:octubre&catid=41 :-contemporary dance-and-society & Itemid = 63 Ctu rope. Dying to be born in the fragment of a moment |  |  |  |
| Contemporary Dance and Society |
| Written by Ana Gonzalez Vañek |
| October, the latest offering from Luis Biasotto, allows us to make an approach to certain concepts before trying to be understood from a purely intellectual position, invite us to reflect on the relationship between theory and practice. Because as we know, the concept does not exist unless it is in and by a practice that makes it possible. October (white on stage) allows us to inquire about what happens inside the field of contemporary dance in Argentina from a story that, although it has the necessary structure that allows its existence as an artistic object, it brings us closer to a completely different way. In addition to generating a break with the representation and structure of the traditional work in the creation of Biasotto, who first instead takes a job directly related to the public, scenic breaks time showing real time. The same happens with the space, whose limits are continuously deleted and appear and disappear breaking the conventional stage space. Biasotto 's work is presented as a mental and reflective work, which in turn contains visual elements clearly confused the viewer. Because that's the intention, an intention no less ambitious and risky which involves the possible lack of questions by a public often accustomed to a particular interpretive logic in other formats used to show ties to the entertainment. The October director considers that often the work of art is to give answers, questions but no answers. And though at times is revealed in this way, theirs is not a work designed to entertain but to open questions. In this sense, it is interesting to note that Luis Biasotto articulated the creative development of his work with the idea of \u200b\u200bthe death of actor Heiner Muller, an idea that refers to the possibility exists for the viewer to see the real subject of a work. "For me the important thing is to find the time, that second you stop to see the character to see the real person. That it relates to the death of the author of Barthes. This is the general pose nearly all the work, "he says. In The Death of the Author, Roland Barthes argues that a text consists of multiple writings from various cultures. Thus, they generate a parody dialogue, an answer. Then states that there is a place where this multiplicity is collected, and that place is not the author but the reader. Given article by Arthur Danto, The End of Art, where the author tries to think what kind of boundaries separating the real objects of art by proposing a reflective rather than visual recognition, Biasotto has a job that also allows us to discover figure of an artist committed to his space and time, thus approaching the need to generate a thought, an active discussion, as such, favors a form of dialogue with the artwork. October, which features reviews, self-critical and references through which the viewer is recognized and re-meets his own experiences, has its analogy with an unsolved case, no conclusion. Like life itself, but through historical and cultural evolution has made us children of a Cartesian tradition, facing up and constantly to the need to define and answers, is incomplete and indecipherable in each of the fragments a moment that, paradoxically, also must die to exist and thus manifest in what we call "meaning." So Biasotto presents a work in which different languages \u200b\u200bare interwoven to show a place where there are no more goals ... or where perhaps the only goal, is the most difficult to generate a route that includes, in its eternal becoming, looks they want, yearning, seeking to understand not defined, trying to see beyond what meets the eye. Cultural Cooperation Center Corrientes 1543-Tel: 5077-8077 Thursday, 21 hs. Locations: $ 25 |
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