Costa Rica Entertainment News – Going back to the choreography of his 2003 performance of Our Everyday Crime makes director Gustavo Hernández, both sad and happy. Winner of the National Award and well-loved by the public, he’s going back to something which was a big success. With his protest and campaign against violence in the home still going, he doesn’t let himself get disheartened.
“For me, it’s very moving, very sad, and rather pessimistic”, says Hernández, who is, once again, directing the staging of this performance by the University of Dance.
The choreography focuses on violence, isolation, and the murder of women through a number of scenes and very elaborate costumes.
“It’s interesting for me to rework the original issue, which in the beginning I felt I just had to talk about. The saddest thing is that 11 years on, it’s still such an issue; it’s as if no time has passed at all”, added the artist.
The performance will take place on Tuesday at 12pm in the Teatro Nacional, in the Teatro de Mediodía auditorium. Tickets cost ¢2,000 for general sale, and ¢1,000 for students and friends of the Theatre.
The cast has been specifically selected for this performance, and it will even feature a new generation of ballerinas from the University of Dance.
Looking back. “The work used a style of movement that was quite unusual at the time”, the choreographer remembers. “This implied that there was a lot to be learnt, even from that – there’s a feeling of risk within some of the movements: a hint of acrobat techniques and a sense of improvisation, which now is very common but which had previously been unexplored.
“For me, as a dancer, it’s a challenge because the performance has its own precedent, which had a lot of success when it was first performed; now we have to keep up the same high quality”, says Mario López, one of the dancers involved.
Lest we forget the real message within this performance – Our Everyday Crime continues to question that which we still have not managed to eradicate: violence within our own homes.
Translated by Leah Hendre from La Nacion
