African drums, electronic noises, the smoothness of cello and an urban imaginery work together to carry the observer towards a mystical, fantastical Buenos Aires.
In that version of Buenos Aires, tango unveils as a way of communion among the creatures of our unconscious and the night, that stalk foreign souls.
In this Buenos Aires, just like the other one, we discover dissillusion, love, violence, the tribal and the modern beyond what the eye is used to see. This show is a novelty among its class, that achieves fusions of tango with other arts, with effective results that don't lose the tango guidelines of the city's milongas.
The creative process was achieved in record timing for a peculiar kind of show: Four months from the gestation of the idea to the premiere, counting the artist's gathering and rehearsals.
We rehearsed for three months that demanded more than 450 hours, when there was no pre-defined work discipline, although there were five concrete research proposals that guided the process.
Throughout 2005 it was premiered in various events, and in the CETA itself for months.
25 people were involved in the whole process and finally the running time was 45 minutes, divided in 7 scenes and played by 13 artists consising of musicians, dancers, clown and aerial performers.
Five of these scenes were the seed of the project:
- Choreography for 6 tango dancers, which were supposed to relate with a clown. The chosen song was “El Atropello”, electronic tango that kept the essence of popular tango.
- Fantasy choreography that breaks classic choreographic elements and maintains the essence of tango.
- Drama situation in which tnago and flamenco combine, maintaining a tango cadence.
- Ground and air combination, aerial dance and tango, keeping whatever was possible of popular tango, the relationship between leader and follower, the aesthetics.
- Abstract choreografy, with live music by a djembe, cello y keyboards. The music was composed from the dancer's movements, created previously in silence.