Nina Laisné, Néstor 'Pola' Pastorive
Como una baguala oscura
septembersept 26 – 29
novembernov 7
© Diego Stickar & Dante Martinez ©
Thursday september 26
20h30
Friday september 27
19h30
Saturday september 28
17h
Sunday september 29
15h
Thursday november 7
20h
Conception, direction, set design and costumes Nina Laisné. Choreography and performance Néstor ‘Pola’ Pastorive. Audio and video recordings, piano and composition Hilda Herrera. 4-hand pieces Sebastián Gangi. Lighting design Shaly López. Sound engineering Arthur Frick. Stage and video management Stéphane Bordonaro. Images, videos Dante Martinez. Studio sound engineering Mireille Faure. Costumes and props Florence Bruchon, Maurice Laisné. Tree stump construction Atelier de la maisondelaculture Bourges, Scène nationale. Management of the set workshops Nicolas Bénard. Woodwork Jonathan Chaillou. Locksmith Jean-Christophe David, Jules Chavigny. Sculpture and decorative painting Laurent Pelois, Margaux Hocquart. Screen construction Serrurerie Gaby Sitter. Decorative painting Alan Da Silva, Nina Laisné. Masonry Sébastien Rouhier. Translation Adrienne Orssaud. Administration Martine Girol. Production officer Valentina Salazar-Henao. Production management, distribution Séverine Péan in collaboration with Clémence Faravel
Delegated production Zorongo in association with PLATÔ
Coproduction Les 2 Scènes, Scène nationale de Besançon ; Chaillot - Théâtre national de la Danse ; Maison de la Culture de Bourges ; Centre chorégraphique national de Caen en Normandie, as part of the ‘accueil-studio’ programme - Ministère de la Culture ; La Vignette, scène conventionnée - Université Paul-Valéry Montpellier 3 ; Bonlieu Scène nationale Annecy ; Les Scènes du Jura - Scène nationale ; Arsenal - Cité musicale-Metz ; Théâtre Garonne - Scène européenne ; La Place de la danse CDCN Toulouse-Occitanie ; Théâtre Molière Sète, Scène nationale archipel de Thau ; Festival d'Automne à Paris
Production supported by FONDOC - Fonds de soutien pour la création contemporaine en Occitanie (La Vignette, scène conventionnée - Université Paul-Valéry Montpellier 3 ; Théâtre Garonne - Scène européenne ; La Place de la danse CDCN Toulouse-Occitanie ; Théâtre Molière Sète, Scène nationale archipel de Thau)
Nina Laisné is an associate artist at Les 2 Scènes, Scène nationale de Besançon
Zorongo is supported by the Drac Bourgogne-Franche-Comté - Ministère de la Culture
Creation supported by the Région Bourgogne-Franche-Comté, the City of Besançon and the Département du Doubs
Chaillot - Théâtre national de la Danse and the Festival d'Automne à Paris are co-producers of this show and present it as a co-realisation.
In Como una baguala oscura, Nina Laisné teams up with dancer and choreographer Néstor 'Pola' Pastorive in this musical and danced portrait of Argentinian pianist Hilda Herrera. With its exploration of the roots of popular and folk music, she brings us a lively show with the hallmark of freedom stamped firmly upon it.
At the back of the stage, a screen reminds us of the roadside billboards found on the vast expanses of the pampas. It hosts the virtual presence of Hilda Herrera, the only female composer to have left a lasting mark on the history of Argentine folklore. Also, it was she who enforced the introduction of the piano, a rare instrument in this field. By dedicating this spectacle to her, Nina Laisné undertakes the work of a musicologist and reconnects with the research that has underpinned many of her works. Here, the archive material is brought onstage, opening up a breach into the real. Hilda Herrera plays the piano, makes comments, narrates, and enters into dialogue with Néstor 'Pola' Pastorive's zapateos. He dances them centre-stage, on a huge aguaribay stump, an emblematic Argentinian tree. His steps are steeped in history and tradition, but there is also something light-hearted about them, due to a choreography freed of all forms of a conservative or museum-like approach. Under Nina Laisné's bold, intelligent and clear-headed gaze, we are witness to a form of freedom in art taking shape onstage before us.
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