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THE RITE OF SPRING BOLERO

STRAVINSKI / RAVEL

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THE RITE OF THE SPRING

Delfos contemporary dance proposes a new version of the monumental work of Igor Stravinsky. An intriguing piece, with great physicality and emotional courage, that eclectically and effectively concentrates different languages in the service of dance: theater, cinema, music, in an intense, torn and tense speech, where the body is always As the axis mundi, the thread of the skein, the great engine of the overflowing scene, while music allows everything to explode, flies in a thousand pieces and portrays the new society, from our contemporaneity.

The Rite of the Sprig of Delfos investigates the deep universe of rituals from everyday life, chaos and transformation. And above all, it manifests an existentialist stance against the chaos that as a society we live in the XXI Century

Under the scenic direction of Víctor Manuel Ruiz and Claudia Lavista, the work counts on the collaboration of the visual artist Mauricio Ascencio in the costumes design.

With the Rite of the Spring, the dancers of Delfos took in their bodies the vanguard with the premiere of a shattering montage, in clash of signifiers ...

“Delfos, leaves behind the canonical visions, the different ways in which this work was read with the body, to raise new astonishment, to unfold ideas, to sow in the very throbbing heart of today the tribal reverberations that simply went from inhabiting villages to becoming crowded, Today, in housing departments, malls as new temples of consumption, tents, still lifes”.

  La Jornada Mexico June 2013 / Pablo EspinosaBOLERO

Maurice Ravel's Bolero has inspired great choreographic works of the 20th century. Delfos succumbs to its beauty and proposes its own choreographic vision, betting on an urban aesthetic in which eight characters construct a physical way to get rid of false hiding places. The work proposes a dramaturgical score that blends with the proper crescendo of music, from a contemporary look of great physical strength.

The Bolero of Delfos has received praise from the public and the press since its premiere at the International Cervantino Festival in 2009 and in 2010 won the Best Work of the "International Festival A Desert for Dance". It has been presented with great success in multiple national and international tours in countries like United States, Lebanon, Colombia and Mexico.

With Ravel's Bolero, clear resolution of Delfos to such an enormous challenge: simply the pleasure of it. Clear ideas, zero grandiloquence, the commitment of Delfos was a resounding success; The achievement of his choreography: effective, plausible and suitable. Uno por Uno México October 2009 / Pablo Espinosa

THE RITE OF SPRING / BOLEROSTRAVINSKI / RAVELNominee to Las Lunas del Aditorio for "Best Dance Performance 2013"Length: 60 minutes

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1. Bolero (2009)

Choreography: Víctor Manuel Ruiz and Claudia Lavista

Music: Maurice Ravel

Dancers: Karla Nuñez, Claudia Lavista, Xitlali Piña, Roselí Arias, Agustín Martínez, Johnny Millán and Daniel

Marín

Costume Desing: Jhonny Millán

Costume Production: Elisa Espinoza

2. The Rite of the Spring (2013)

Concept and Direction: Víctor Manuel Ruiz and Claudia Lavista

Música: Igor Stravinski

Dancers: Aura Patrón, Claudia Lavista, Omar Carrum, Agustín Martínez, Jhonny Millán, Daniel Marín and Renato

González

Costume Desing: Mauricio Ascencio

Stage Manager and Technical Production: Rigoberto del Valle

Work produced by Programa de Apoyo a Grupos Artísticos Profesionales de Artes Escénicas "México en Escena", Sociedad Amigos de Delfos and Instituto de Cultura, Turismo y Arte de Mazatlán

CREDITS

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Delfos Contemporary Dance Company was founded in 1992 by Mexican choreographers/dancers Claudia Lavista and Victor Manuel Ruiz with the vision of creating dynamic new works in the spirit of collaboration, as well as developing a professional training program for contemporary dancers. 

The company is a unique collective of artists whose creative vision is characterized by its physical, theatrical and visual scenic language in constant search of new poetic narratives within their diverse repertory. Delfos’ work has been presented throughout México as well as in Brazil, Venezuela, Colombia, Panama, Ecuador, Bolivia, Peru, Canada, the United States, Italy, Spain, France, Singapore, South Africa, South Korea, Lebanon, Algeria, Lithuania, and Greece.

The Company has received worldwide critical praise, as well as several major international awards for Dance including: The Mexican National Dance Award in 1992, 1997 and 2002, the Award as Best Dance Company in Mexico by the Critics Union, the Artistic Merit Award in Brazil and the Best Show Audience Award at the XXV Lila López International Dance Festival in 2005 in San Luis Potosi.

Delfos had the distinct honor as the only Mexican dance company selected to tour extensively in the United States in the fall of 2004 with the support of the National Endowment for the Arts in association with the National Dance Project of the New England Foundation for the Arts. The tour included a successful week-long run at the Joyce Theater in New York as part of the Mexico Now Festival.  In 2005-06, Delfos returned to the United States with the support of Artes Americas. Delfos toured the US again in 2008-10.  In 2011 the company was nominate for the Austin Critics Choice Award for Touring show with the piece When the disguises are hung up.

In 2014-15 is selected by Southern Exposure/ Performing Arts of Latin American, Mid-Atlantic Arts Foundation, to tour in the US in 2015, which included the Washington University in Seattle, UCLA in Los Angeles and the Bates Dance Festival in Maine.

In 2004, 2007, 2009, 2011, 13 and 15 Delfos received the Professionals Artistic Groups Scenic Arts MEXICO EN ESCENA Program, from CONACULTA, which is given to the most prestigious artistic companies in Mexico.

Since 2008 directs the Dance and Consciousness program, a community project that brings dance to marginal sectors of Mazatlan, in order to re-build the social net through art. Currently we work with 500 children, adolescents and adults.

The company has maintained a constant interest in the creation of projects in collaboration with creators of other artistic disciplines, which has allowed us to work with outstanding national and international artists of different disciplines and visions.

Since 1998, Delfos Contemporary Dance has run the Mazatlan Professional School of Dance (EPDM); a dance Conservatory that offers a Bachelor of Arts degree program with an interdisciplinary curriculum. Has graduate 17th generations of dancers and young choreographers, the Artistic Directors are Claudia Lavista and Víctor Manuel Ruiz.

Today Delfos and the EPDM are recognized as two of the most important contemporary dance organizations in Latin America. Their home base is the Angela Peralta Theater and the Municipal Center for the Arts in Mazatlan, Mexico. Today Delfos and the EPDM are recognized as two of the most important contemporary dance organizations in Latin America. Their home base is the Angela Peralta Theater and the Municipal Center for the Arts in Mazatlan, Mexico.

BIOGRAPHYDELFOS

CONTEMPORARY DANCE

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GALLERY

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MULTIMEDIAVideoThe Rite Of The Spring:

 https://www.youtube.com/watch?v=JLsc2MODGoo  Bolero    https://youtu.be/UeO8PxW0G7s

Photo Gallery / Web Page

http://delfosdanza.org/galeria-gallery/

Press  Reviews:

La Jornada: http://www.jornada.unam.mx/2013/06/17/cultura/a09n1cul

Arte axión: http://arteaxion.wordpress.com/

Artes e Historia: http://www.arts-history.mx/semanario/especial.php?id_nota=14062013155846

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PRESS

Pablo Espinosa

La Jornada JournalJune 2013. Monday 17th. p.9

The dancers of the Mexican dance group, Delfos Danza Contemporánea took in their bodies the vanguard last Saturday at dawn in Fine Arts with the premiere of a shaking montage in a clatter of signifiers: The rite of Spring, which with the subtitle of Scenes from pagan Russia shook, hundred years ago, the way we understand the world from the stage.

In commemoration of precisely the centenary of this monumental work, with music by Igor Stravinsky, choreography by Vaslay Nijinsky, under the production of Serguei Diaghilev, creator of that marvellous blunderbuss named Les Ballets Russes, Delfos presented a new version in every sense.

The senses of the empire.

What happened on the premiere on the night of May 29, 1913 at the Théâtre des Champs-Élysées, still reverberates in the womb of a society that saw that evening a new way of making, perceiving and understanding art: the mind is no longer the operator, the brain is no longer the theatre of actions, now imagination took power and gained body.

Since then, it is within the body where everything happens, vibratile and terrestrial. The senses are the empire.

The mind, then, gains more clarity. From the visceral we ascend to the sidereal.

Urban life, the frenzy of modern times, the brutality, the violence, the obsessions. The themes Stravinsky extracted from tribal civilisations became themes of the present metropolis.

A hundred years later, seven dancers, members of Delfos, left behind the canonical visions, the different ways in which the work had been read with the body, to raise new astonishments, to deploy ideas, to plant in the very throbbing heart of today the tribal reverberations which simply went from inhabiting villages to cramming in apartments, malls as new temples of consumption, barracks, storerooms

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The rite of Spring, according to Delfos, concentrates in an eclectic, effective way different languages at the service of dance: theatre, music, an intense speech, torn and tense, where the body is always left as the axis mundi, the thread of the skein, the great engine of the overflowing scene, while the music, that colosal beast that Stravinsky extracted from the confines of the times, allows everything to explode, flies into a thousand pieces and portrays the new society, our contemporaneity.

Also noteworthy was the fact that the montage had live music in the pit, in charge of the Mexico City Philharmonic (FCM), conducted by José Areán. It is fair to emphasise the musical effort, although the baton insisted on marking times, as if it were directed towards opera singers, also with extreme precautions in demerit of the outbreak, of the extreme brutality that yes, instead, it shook the scene with the bodies of the dancers.

There it is, the crash of bodies.

A reading, that of Delfos, consistent with the reality of acting and saying farewell to the canonical referents of the last century, where the choreographies of Pina Bausch, Maurice Béjart and Sasha Waltz reigned.

None of that and in exchange for that, here is the physical dance of risk, the dance of resounding action, the theatre of bodies, the frozen image so that it immediately becomes a bonfire.

Bonfire of bodies on stage, here is the clatter of bodies stacked in a ritual, wild, tribal sacrifice at Abu Ghraib, the clash of bodies slain at a nightclub in Acapulco, the swinging of the slain bodies hanging under the bridges of the suburbs of the metropolis at the north of the Mexican Republic or crammed into car trunks, here is the crash of bodies in the rush hour of six o'clock in Pantitlán station of the Metro of Mexico City, here is the din of scenes of today’s pagan life.

Of course none of this is explicit on stage, nor is any direct reference made at any point because this is not a pamphlet but a work of art that echoes the reality. This is simply one of the many possible readings an spectator may have of a polysemic montage like the one we witnessed this weekend in Fine Arts.

Everything then is in metaphor. All in hypertext. Everything in deft and calculated dance. Everything in chorus with the original brutality of The Rite of Spring which continues to shake the world 100 years later.

Pair that illustrates the diversity of voices.

The program in Fine Arts began with the replacement of Bolero, a choreography of Delfos dating back to 2008 and which can be read, in its clear scenic line, a button flower that opens its petals before our astonishment, in that great crescendo written by Maurice Ravel.

Tremendous artistic success to put together Bolero and The Rite of Spring, two works united by an astonishing sum of communicating vessels (sensuality, sexuality, ecstasy to the limit) and that "perfectly illustrate the diversity of voices and tendencies and the formidable findings and changing faces that draw the multiple and plural image of modern art”, as composer Mario Lavista notes in the notes to the program in Fine Arts.

In the second part of Saturday’s session, which was followed by another on Sunday, the extreme precision of the choreographic actions, the exact construction of the whole and its details opened the bodies in a channel to sum them to the sound that emerged form the pit of the orchestra: the most brutal score, the most daring, the most sublime cataclysm ever written: The Rite of Spring.

Bashing the bodies and the polyrhythmia of the orchestra is enhanced by the sound of empty wine bottles that sound on stage like the crystal-clear angels that convert the sacred dance, the magic circles, the pagan rounds that Stravinsky imagined, into dignified dance actions ff the best avant-garde.

For instance, the fight of the rival tribes personalised in the confronting on stage of two minotaurs constructed with the physical bodies intervened by high-heels, wooden boxes and benches used as modern Greek choir masks, contemporary simulacrums of the coturnos from where groans emerge: the dancers of Delfos in splendor of dance creativity, imagination in movement, originality and forcefulness.

The original approach of The Rite of Spring: The ritual sacrifice of a demoiselle, became a multiple and plural speech which illustrates in a formidably the tribal society that has only change habitat for its everlasting self-sacrifice ritual:

The supreme clash of bodies.

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TECHNICAL REQUIREMENTS

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Stage:

10 meters deep14 meters wide17 meters tallFloor: White marley dance floor (non-negotiable)

Hanging Goods

1 black borders 8 black legs

a black curtain or traveler the width of the stage

It is indispensable that the theatre provide the props. Pipes Bandshell (acustic)

Lighting Equipment:24 ETC units that are 26 degree barrels for booms, each 750 watts45 ETC units, zooms that are 20-50 degree range 750 watts, specials overhead

05 units that are 10 degree barrel with 1000 watts, FOH

24 Par 64 units, 1000 watts, back light 12 Fresnels, 1000 watts each

Light board with 24 channels and 12 submasters minimum

2 Pipes free in backlight for holding lamp

Lighting Gel Colors Lee-CONGO 181 backlght-SKY BLUE 068 backlight-MEDIUM RED 027 enviroment and backlight -MEDIUM BLUE 116 enviroment-ORANGE 158 enviroment-WHITE enviroment

Sound: Amplification that is sufficient for the theatre 2 monitors on stage for the dancers2 cd players1 console with 12 channels2 Speakers backstage

Special Effects:2 Fans2 hazemaker with remote controls

Technical People:1 Light board op2 lighting techs for hang and focus 1 sound board op2 stage hands2 Props people

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19 de noviembre de 2015

LIGHT PLOT

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SCENOGRAPHIC AND CARGO REQUIREMENTS

The organizer event will cover the cost of transportation of the scenery, which has an approximate volume of 2 cubic meters and a weight of 100 kg.

The scenery is composed of the following:3 chairs plastic

1 wood table about 80 cm wide by 80 cm long and 75 high resistant and leg protectors cm.

1 floor fan

300 portfolios egg carton

30 bottles of wine or liquor empty without labels

1 armchair love seat (for two)

1 Metal or sturdy wooden table with wheels 50 cm wide by 60 cm long by 65 cm high

A large cardboard box

Delfos travels with 2 large bags of 25 kg each measuring 50 * 50 * 85 cm piece containing costumes.

GENERAL REQUIREMENTS

Assembly time: One day before the show and the day of the performance (14 hrs in total.)

Disassembly time: Three hours

Assistance: There should be a doctor present during the performance.

Two bathrooms with showers and 8 towels.

Catering will be appreciate: fruit, water, juice and coffee.

Rehearsal: A dance room is requiere for three hours, both the day before and the day of the

performance.

Number of people traveling:

12 people: 10 Dancers / 1 Lighting Designer / 1 Stage Manager

Rooming List: 6 Double rooms

The accommodation will be paid by the organizer event

Per diems will be covered by producer: $45 USDOLLAR in cash per day per person.

Inner transportation will be requiered

The cargo shipping will be paid by the organizer event.

Invoice for payment of Delfos will be given out to:

Mitologías en Producción S.C

RFC: MPR080829G79

Address: 6 Colonia Loma Linda Puebla CP 82000

Mazatlán Sinaloa

CREDITS DELFOS

CONTEMPORARY DANCEResident Company at Teatro Angela Peralta in Mazatlán

Co-DirectionVíctor Manuel Ruiz y Claudia Lavista

DancersKarla Núñez, Claudia Lavista, Aura Patrón, Xitlali Piña, Roselí Arias, Surasí Lavalle, Agustín Martínez, Johnny Millán, Daniel Marín, Renato González y Víctor Manuel Ruiz

Desing and LightingVíctor Manuel Ruiz

Technical ProductionRigoberto del Valle

Costume ProductionJohnny Millán

ManagementAna Elena Morales

Administrator

Rocío Martinez

Manager:

Lynn Fisher/ Frontera Arts

General Coordination Claudia Lavista

Imagen, Audio y Video Renato González

EPDM Administrative CoordinatorMartha Castillo

EPDM Artistic Co-directorClaudia Lavista y Víctor Manuel Ruiz

PhysiotherapistDra. Maria del Carmen Chaparro

Fotografía / PhotographyAna Elena Morales•Mazatlán Sin

Martín Gavica•Mazatlán Sin Lois Greenfield•Nueva York

Colin Dunn•Mazatlán Sin

Contributors: Amigos de Delfos, Instituto de Cultura Turismo y Arte de Mazatlán, Centro Municipal de las Artes, CONACULTA-FONCA e Instituto Sinaloense de Cultura.

Counselors: Raúl Rico, Carlos Berdegué, Patty Kronemeyer, Juan José Ruiz, Martín Gavica, Juan Ordaz y Laura Peniche

Friends of Delfos: Mark Kronemeyer , Marcela González de Rico, Laura Graef de Ruiz, Juan Carlos Ordaz, Dolores Sacristán de Berdegué, Carolina Gutiérrez de Pruneda, Dra. María del Carmen Chaparro, Gaspar Pruneda, Ana Belén López, Dr. Eduardo Valle, Gabriela Ramírez,  Raúl Carreón Álvarez, Andrea Martínez de Castro, Sheila Madsen, Soren Madsen, Richard Marin, Kristi Bishop, Martha Anguiano, Socorro Luna, Roberto Coppel Azcona, Alfredo Gómez Rubio, Rodrigo Becerra, Daniela Rodríguez, Dr. Marco A. Álvarez Arrazola, Dr. Steven Backman, Moisés Himmelfarb, Gilberto Avilés, Cecilia López, Eugenia Hernández, Marianne Biasotti y Diana Lem. 

CONTACTDelfos danza contemporáneaWeb: www.delfosdanza.org

Offices in MéxicoClaudia Lavista, Co-directora/Co-director Ana Elena Morales- Gerencia/ManagementTeatro Ángela Peralta. Carnaval s/n, Colonia Centro, 82000 Mazatlán, Sinaloa. México Tel: (52-669) 981-48-69 / 982 4446 y 47 ext. 108Correo electrónico/ email: infodelfos@yahoo.com

Lynn Fisher / Manager3102 Lakeway Blvd., Austin, TX 78734,

Tel: (512) 261-6979lynn@fronteraarts.com www.fronteraarts.com