Bitef

pies, pies klasidni ili barokni, koreograf razvija lepezu mogudnosti tela prikazujudi u veselom sinkretizmu glad za pokretom, nasladu fizičkog trošenja, likovanje virtuoznosti, sve ono što je danas sumnjivo u pogledu savremene pravovernosti. I upravo u tome je paradoks današnjeg plesa, oslobođenog svih stega kome se otvara ditav okean mogudnosti, kao i zatvaranja u oklop novih konvencija, kao doxa i najmanjeg pokreta. I tu Zoze Montalvo pruža otpor otvarajudi ustave potisnutog i crpedi iz svetskog pamdenja igre. Čitati iz današnjeg ugla i sa zahtevom inventivnosti, igre svetske baštine znači otkriti druga znadenja i pokloniti im se. Pošto pamdenje igre ima smisla samo doživljeno u sadašnjosti, bez nostalgije. To je odskočna daska mašte, lek protiv amnezije. Ponovo otkriti zadovoljstvo kojeg smo se lišavali, eto izazova. PriCa svakako, ali prida muzidka i koreografska. Ako koreografski vid pride nije nikome promakao, muzidki vid zaslužuje poneko objašnjenje. Ako su Vivaldi i Bah, udestvujudi u baroknoj estetici koreografskog rada, uvek prisutni, pratimo vodedu muzidku nit ovog komada kroz muziku Bušera, polu-pustinjske oblasti južnog Irana, diji je istoimeni grad dugo bio glavna luka zemlje, mesto trgovadke razmene Evrope i jugoistodne Azije. Sama ta muzika je ved melting-pot afridkih, persijskih, arapskih i indijskih uticaja. U aranžmanu i neposrednoj interpretaciji dva iranska muzičara, Sajeda Šanbezadeha i Habiba Meftabušerija, naših vodida po zemlji Vavilona, ti uticaji se sredno mešaju s blagom žalopojkom jedne Purselove melodije ili sa lirskim uzletima italijanske pesme. Zoze Montalvo bi mogao da usvoji zakijudak Silvije Parize, univerzitetskog istraživada teme Vavilona: "Ako se podizanje kule dugo smatralo kao izraz nesrećnog izazova od pre nekih tri hiljade godlna, ne bi li plodno prihvatinje višestrukosti svetova, jezika, kultura, praksi moglo bit! od sad novi izazov koji treba prihvatiti." Od baleta Raj koreograf upravo nastoji da u svojoj ravni, ravni stvaraoca ukorenjenog u grad, gradi svoju Vavilonsku kulu u vidu barokne i praznidne freske, diji je svaki deo još jedna nova karika i to raznobojna i bogatija i logidnija u svojoj raznorodnosti. Džeki Pajei (Pailley)

A MUSICAL AND CHOREOGRAPHIC FAIRY TALE »So, the old biblical myth has been turned around, and the confusion of languages is not a punishment, but instead, the cohabitation of languages which work together, side by side, give rise to pleasure: this pleasant text is happy Babel.« Roland Barthes - Le Ptaisir du texte The title, which was borrowed from Roland Barthes' text, is a friendly wink at the artists whose writing plays upon the multiple polyphonies of languages, these artists whose works see Babel's diversity as a springboard for creative euphoria and a celebration of languages. Since the diversity of languages becomes in itself the driving force behind their works, they invent a new poetic conception of multiple, each in their unique way. Isn't this also what Japon Jose Montalvo is attempting to do in his own way through his heterogenous choreographic writing, a portrait which has evolved to become a sort of roman fleuve, which began with Paradis and led to Babelle heureuse, the third part? Paradis and especially le jardin io io ito ito already praised the polyphony of cultures and dances. In his extraordinary and cosmopolitan garden, Jose Montalvo, associated with Dominique Hervieu (an exceptional performer in all the works and also his associate choreographer), cultivated the art of fragmentation, juxtaposition, collage and telescoping, Babelle heureuse not only evokes the encounter and controntation, but the exchange,

communication, transmission, and the adaptability of movement between the dancers. Babelle heureuse is a fairy tale and, like all fairy tales, it begins with »once upon a time...«, but it's an accessible fairy tale, inspired by the confusion and agitation of the streets. The attentive observer discovers a colourful and feverish crowd in traffic and other exchanges that evoke today's society in this continuous and diversified performance. A collection of moments are used to create this fairy tale whose unique ambition is to provide a eulogy, celebrating the instant in the present in order to unveil all its poetic depth. It this fairy tale is imaginary and open to fantasy, it must provide its own utopia, which in this case, is the sanctified land, a state of tolerance and a happy place where bodies, languages and ideas are free to circulate. Paradis, Jardin, Babelle heureuse... one only has to read these titles to understand that Montalvo doesn't have a taste for misfortune or disaster. Babel's malediction, the confusion of languages, is turned around here in a playful way to evoke a form of jubilation brought on by languages, a joyous tribute to pluralism and cosmopolitanism. This poetic conception of multiple, a way of thumbing one's nose at all forms of xenophobia, has an thical dimension, a moral attitude of resistance toward all forms of barbarism. For all that, the darker, animal instinct that lies dormant in every individual, ready to shatter this beatiful polyphonic harmony, is not overshadowed. Within the interplay between what is real and its representation brought to us by video, the animals, one will have noticed, have been given their due. But they never make it to the screen. The horses snort, the geese stay in their row and the tiger is tamed. The dark side, the animal instinct that each of us have is transformed into enery which is used to dance. For Claude Levi-Strauss, the fairy tale is a miniaturized myth. From myth to fairy tale, from Babel to Babelle and from the tower to the polyglot dancer, Montalvo has chosen an open form of expression with infinite metamorphosis. Fie proceeds by assembling, by fragments: a construction seen as another way of escaping linear narration. From Capoeira, hip hop, acrobatics, African dance, ballet to baroque, the choreography fans out corporal possibilities by directing, in a joyous syncretism, the appetite for movement, the jubilation of physical exercise, the jubilation of virtuosity, all things that are today regarded as suspicious in the eyes of contemporary orthodoxy. For this is where the paradox lies today with regards to dance, which has been liberated from all forms of restraint, opening up a sea of possibilities, only to find itself in the shackles of new conventions, the doxa of the slightest movement. Flere again, Jose Montalvo brings this into question by resisting, opening the floodgates of the repressed and by