ENTRÉE A DOS

The choreographers of Taiat Dansa, Meritxell Barberá & Inma García, always seduced, in choreographic matters, by duets, compose in Entrée a dos a programme with three duets, three body to body that have, as a starting point, the representation of the couple and love in art. The history of art is full of moments of love. Love has been one of the most important themes inspiring artists in their artistic production.

In the trajectory of the company Taiat Dansa predominates the special fixation of its directors to establish a constant dialogue between dance and the rest of the arts.

Despite their differences and the constant absence of dance in the dissemination of art and its historical evolution, on many occasions there is a cohesion, an interest, and a need to present works and pieces, both in the visual arts and in dance, that deal with the same concept. And love, relationships and desire are common topics in all art, and therefore also in dance.

In the 19th century, coinciding with the Romantic art, the Romantic ballet appeared, where the main dancers live a love story, most of the time an impossible and desperate love.

From the 20th century onwards, modern dance, and later contemporary dance, also embraced new duets and a new vision of love on stage, which focuses on reality, on the desire between two people, moving away from the fantastic love of Romanticism.

The company Taiat Dansa presents three duets, very different formally, but very similar in essence. Body to body on stage, 360-degree choreographies and all three set in classic representations of the history of art and dance: ‘OTRA CARMEN’, ‘HELENA Y PARIS’ and ‘VENUS’.

‘OTRA CARMEN’

OTRA CARMEN, by the choreographers Meritxell Barberá & Inma García, is a short duet created for the dancers Lara Misó and Mauricio Pérez. With original music by the composer Caldo, a regular musician with the company, the artist composes a contemporary, daring, sophisticated yet simple musical version of one of the best-known melodies from Bizet’s opera. The choreographic piece presents Carmen, a woman on equal terms with her partner. Here it makes no difference whether he is Don José or the bullfighter Escamillo because he represents neither. Carmen, in this duet, seduces her partner, just as he seduces her, and both are free in their courtship to decide the limits of their passions and to go through moments of tension, and even internal violence, which can shake the body in situations of infatuation and seduction.

‘HELENA Y PARIS’

HELENA AND PARIS recreates the first meeting of this couple, how quickly and quickly they fall in love, as well as the difficulties, obstacles, and disagreements between them before they flee forwards. On the other hand, this duet, created by the dancers Yéssica Castellón and Boris Orihuela, shows another reading of the punishment, freedom, and risks that the woman, in this case Helena de Troya, has been facing to always conquer her autonomy and liberation.

‘VENUS’

Venus, the goddess of love in Roman mythology, who was identified with the Greek goddess Aphrodite, goddess of beauty, of both heartbreaking passion and celestial harmony, has been, and continues to be, a source of inspiration for artists of all ages.

Taiat Dansa’s VENUS travels, hand in hand with two dancers, Diana Huertas and Laura G. Carrasco through all these artistic currents. Both of them go through the different movements of art and their bodies magnify each of these positions in relation to dance and the visual arts thanks to the representative figure of the goddess of love through the centuries in art.