Tilt
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idea and direction: MARGARITA BALI
choreography: MARGARITA BALI AND INES SANGUINETTI
music: POPULAR TANGO (MATHOS RODRIGUEZ, HUGO DIAZ), JOHN LURIE, JOHN SURMAN AND EDGARDO RUDNITZKY
costumes: MONICA TOSCHI
set design: MARGARITA BALI AND BULLY GRANARA
dancer: PAULA DE LUQUE / INES SANGUINETTI
light designer: ELI SIRLIN
TILT,the opening piece by MARGARITA BALI rivets the attention from the outset. Against a backdrop of curtained windows spaced some yards from an empty picture frame, a woman stands absolutely still. She wears a long velvet gown. There are occasional voices from the street but she appears locked in silence. Slowly the woman moves her arms, then her body, until we see that her gown is part of the curtains.
The work is extraordinarily sexy in a rather sad way. it is danced by PAULA DE LUQUE, and in the remarkable plasticity of her body and the projection of her hopelessness she gives a bravura performance. By Patricia Lauglin 12-9-92. THE AGE MELBOURNE (Australia)
It takes two to tango. But Argentina’s MARGARITA BALI does it alone. In a contemporary abstract solo adaptation of this South American folk dance here on Tuesday night, she powerfully portrayed the thraldom of a reclusive woman caught in the tempest of daily life. INDIAN EXPRESS, 12-12 1990
Gleich in der ersten Choreographie des dreiteiligen Programms bewies sich der hohe grad der Ausdruckskraft durch einen bewusst auf wenige wesentliche Elemente zurückgeschraubten Einsatz der künstlerischen mittel. Keine tänzerischen Schnorkel und keinerlei überflüssige Acessoires. Ein Tisch,ein Bügeleisen, ein Bilderrahmen, eine Tänzerin. Und die toten gegwenstände beginnen zu leben unter der Hand und der korper jener Frau, die sich aus der tristen Realität ihres Hausfrauen-Daseins hinauszuträumen sucht in eine ihr verschlossene Welt der Wärme, der Zärtlichkeit und der Anerkennung.
Beeindruckend wie LAURA HANSEN die spielerischen und tänzerischen momente auf der Ebene höchster Abstraktion zu verbinden weiss, wie selbstverständlich die Objekte in ihre Bewegungsabläufe integriert sind und damit verschmelzen- zu bilder einer surrealen Wirklichkeit. By Burkhard Screeb, MAINZER RHEIN-ZEITUNG, 18-11-90
This image of doom and despair is also evident in TILT, MARGARITA’ s solo dance piece, also choreographed by her. Stunning sets, again designed by this versatile lady, comprise a marble wall to which she lies pinned, enveloped in copious swathes of deep purple. As the tantalising Collage of EDGARDO RUDNITZKY wafts onto the air, MARGARITA reveals her torment for the world to see. It is a cry for help. A wordless, soundless scream. By Vinod Advani. THE SUNDAY OBSERVER Bombay,India, 16-12-90
So begins TILT, the first work on a program at the Dance center by NUCLEODANZA . TILT is BALI’s work, a solo performed by INES SANGUINETTI, and it is as stylish, as sexy, as elegantly performed, and as deeply angry and despairing as anything I’ve seen in a long, long time. Certainly US choreographers with something to say rarely harness the considerable rhetorical power of sex, rarely consider seizing it from business and using it for revolutionary ends. NUCLEODANZA has no such compunction, and the result is art that’s both sexy and deeply political. SANGUINETTI in TILT seduces the audience with no trace of self-consciousness or self-parody: she’s a ravishing presence, with a thin raptor’s face, long legs, long hair. Nevertheless SANGUINETTI doesn’t relate to us but to her environment: she dances a tango for instance, with the kitchen table, caressing it with her foot, entwining her leg around its leg. The result is funny, seductive, and horrifying: this is what happens to women’s imaginations and sensuality when they’re enshrined in the home. Laura Mozahn 27-2-92. CHICAGO
“En “Tilt” con Paula de Luque como única protagonista, Bali desarrolla la atmósfera de la soledad y desesperación de una mujer, que se mimetiza con los objetos y la rutina hogareños (es parte del cortinado, está pegada a la plancha, su enemigo es una mesa, se plasma en las paredes). Se trata de un largo solo, difícil, complicado técnicamente por lo que la intérprete mantiene un control estricto de la danza y, a la par, expresa la eclosión que padece su alma. Bascula entre el control y la fuerza desatada, el odio y la resignación, la vida y quizás la muerte. La interpretación de Luque es soberbia y cincelada para esta obra de duro mensaje.” Por Silvia Gsell, LA NACIÓN, 23 de Noviembre ,1994
VIDEO de Tilt