Isabel Vázquez: At 60 she simply needs to bop | Culture | EUROtoday

To be capable of make dance a dedication of lengthy breath, Isabel Vázquez (Seville, 60 years) has needed to journey all of the roads of scenic creation. The brief life as an interpreter of a lady who educated as a dancer has maintained the important constants, joyful well being on the stage, we should acknowledge it, reincarnated because the years glided by in Coreografa, stage director, Pedagogue, Teacher, Entrepreneur of instructional and scenic tasks … But he has fulfilled the 60s and has encountered his most main want: “He missed a lot to dance.”

His final present as an interpreter, which was already known as premonitory Closing timenow 10 years previous, when Isabel Vázquez – one of many dwelling figures of Spanish up to date dance – had turned 50 and felt “expelled from the system.” “Because anyone calls you anymore to dance. I did it because I was very angry with my profession, you know? Then you close a stage and think that the desire to dance did not return and come back. That is, they do not come back. They have not left.”

From this agency will to “do what I want now” is born ZAMBRA DE LA GOOD SAVAJEIsabel Vázquez’s return to the stage when she has crossed one other Rubicón of prejudices and self -lengths, of different and personal censures, to the 60s: “I have spent many years choreographing and directing dancers, observing my movement in different bodies and seeing how it was transformed, it enriched it. Seeing me in others, learning, progressing … and, now, now, I feel the need to put into practice that knowledge acquired. and confront it with my own body, with the body now, to explore its limits.

The room is white, the bright, polished floor. The windows and doors are closed. And inside, Isabel Vázquez moves slowly, turns, falls, gets up. A long dress with a lot of flight, of a plastic material, cuts when moving. Pavarotti sounds: A furtive tear. And she squeezes a corset, goes to the door and breathes. A little air for that vitiated atmosphere room. The door closes and starts running, the Rolling sounds. But it opens it again. It would be said that he wants to escape …

Vázquez shares with the country some moments before the premiere, poses for the photographer as part of one more choreography, invents prints, it search in the locker room and there it is impossible to observe a woman with a certain age. “The interesting thing is that women can contribute a lot in dance without having to make older people on stage. They have sometimes called me to make of the elderly. But it is not necessary, we can continue to be on stage as a normal interpreter, not playing a grandmother,” he explains halfway between laughter and anger.

And that is Isabel Vázquez, half anger, half humor, formal and irreverent, an artist who has managed to connect with the public opening on the channel, with shows where the text shares prominence with the movement and her body is put at the service of an emotions carousel. “In my last creations, I have inquired about different crucial issues for me. Issues that touch me a lot personally, but that are universal and where many people, in one way or another, have been reflected. I think that this universality has led to have been shows so demanded by the theaters and the public. The meaning of success and failure in failure in Disaster Archipelagoor toxic masculinity in The curse of the Malboro (where she was director and choreographer). ZAMBRA DE LA GOOD SAVAJE It is for me a new opportunity to put on the table the following question: of everything I am, what is inherent to me and what has been imposed? And this is also a universal issue, because we all ask ourselves this question at some point in our life. I want to talk about the self -cancellation, the need to fit, to be friendly until you bite your lips, of domestication … “, explains.

With a dramaturgy signed by Ruth Rubio and the scenic direction of Alberto Velasco, Isabel Vázquez has designed a show that evokes her memory as a “virtuosism” world of dance, create a space of freedom where everything is possible and a new work from maturity and experience. ”

During the process of creating ZambraIsabel Vázquez has lost her parents, with a month apart, and everything has been “a revolution of feelings, now there are issues that I can’t say on stage, they damage me, as a result of I converse a variety of my training on this present. And of the precepts that I’ve assumed as their very own and are acquired by my training. So, in fact, it has been a revulsion,” he explains. The good savage He needs to maneuver afloat in his most autobiographical present, which explodes when the rhymes of My Way In the voice of Nina Simone. “I have also dared with this. To do what I want is to choose a song with which I would never have dared, by Manida, for spent. But it is the song of my life, I have thrown a morro, I am doing what I want,” he smiles finally.

After its passage via Madrid (May 25 and 25 in Madrid in Danza), Isabel Vázquez will stroll her six many years of expertise on the stage in a large nationwide tour with first stops in Castellón, Palencia, Zaragoza, Alicante, Mérida and Murcia. Seville, his Talisman metropolis, will arrive subsequent season to the Central Theater.