AU­RO­RA BOSCH AND THE ART OF DRAWING STEPS

Arte por Excelencias - - Cuba -

Au­ro­ra Bosch's legs mark six o'clock. In the lan­gua­ge of ba­llet, that step is ca­lled "penc­hé," and at 75 she still do­es it as a pro­fes­si­o­nal. My mind is struck with the ima­ge of this dan­cer in the co­da of The Black Swan, when in an act of se­duc­ti­on she throws her­self at Prin­ce Si­eg­fri­ed, as though taking off, and he holds her in the air. Bosch caught everyo­ne´s bre­ath in that sce­ne whe­re she se­e­med to be re­ady to anyt­hing just to be­co­me a que­en. That is why I do not be­li­e­ve her when she re­ve­als to me that she was afraid when being lif­ted, alt­hough in the said sce­ne "it is easy," in her opi­ni­on. No one who has se­en her agre­es with the ar­tist in this de­tail and, without a doubt, she was a go­od ac­tress: she con­vin­ced us all that she was bra­ve and tem­pe­ra­men­tal like the Myrt­ha, que­en of the Wi­llis, of the ba­llet Gi­se­lle, that ear­ned her to be­co­me a le­gend and a re­fe­rent - the Ana Páv­lo­va Pri­ze of the Uni­ver­sity of Dan­ce and the Spe­ci­al Pri­ze of Dan­ce Cri­tics and Wri­ters of Fran­ce at the IV In­ter­na­ti­o­nal Dan­ce Fes­ti­val of Pa­ris, in 1966. By the ti­me she had won the gold me­dal at the Var­na Con­test, Bul­ga­ria, she was not yet a pri­ma ba­lle­ri­na. She ob­tai­ned that ca­te­gory in 1967. Ar­tis­ti­cally, Au­ro­ra was born and de­ve­lo­ped un­der the ae­gis of the foun­ders of to­day's Na­ti­o­nal Ba­llet of Cu­ba (BNC): Ali­cia, Fer­nan­do (1914-2013) and Al­ber­to Alon­so (1917-2007). For­tu­na­tely for the cur­rent ge­ne­ra­ti­ons of ar­tists, this mas­ter main­tains the iron will that led her to the pin­na­cle of art in her country, to in­te­gra­te an eli­te na­med by the gre­at En­glish cri­tic Ar­nold Haskell as "the four jewels of Cuban ba­llet." Now, Bosch en­ligh­tens ot­hers with her wis­dom. The pro­fes­sor sug­gests a dif­fe­rent way of per­for­ming a movement and at on­ce the ar­tist be­co­mes an an­gel. "Drawing the air," she sug­gests whi­le marking a re­le­vé lent. This is how she works, in­jec­ting sen­sa­ti­ons and in­vi­ting pe­o­ple to dan­ce with mu­sic.

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