Virgilio Sieni, currently director of the Dance sector of the Venice Biennale and before that the members of the work collective Kor'sia, four young dancer-choreographers (Mattia Russo, Antonio Da Rosa, Giuseppe Dagostino and Diego Tortelli) who have configured themselves as a dynamic and more than promising research team of contemporary stage movement. With them, in addition to seeing their work either live or in video recordings, we will talk about issues that I believe are still burning: the concept of non-dance, the operability of a virtual scene, working with non-professional dancers, permanence as a repertoire or the ephemeral nature of creative work, the use of new music...

fragments of choreography as they emerged. Later, Massine was one of the ballet artists most involved in fiction films with ballet as a language. This supposed synergy is also a consequence of the fact that modern ballet and cinema developed in parallel, with common foci such as New York, Hollywood, London and Paris. The process extends to the present day with dance video creation as an art speciality in its own right.

The Museum has the conditions for this, both as a container and as a support; of course, I understand that it is not a quick or easy process. The Museum has the conditions for this, as a container and as a support; naturally, I understand that it is not a quick or simple process. Why not think within the sphere of the Humanities that this university could have its own Dance Department? It would be the first in Spain to contemplate it organically.

Still from the film "West Side Story".

Well, this visual effect of the "boneless arms" already exists as such in academic dance itself, in ballet, codified since the first third of the 19th century, on the margins of the style of its time. And between 1983 and 1986, William Forsythe already began to include improvisations of these urban ways in his ballets. The understanding of the dance goes first through the acceptance, the pleasurable taste of the visual and sonorous spectacle. The meanings are contained in the expression and the visual impact itself. Each epoch has its own signs and signs, some remain and are transmitted, others are located in their epoch as a passive reference to which the scholar returns.

What about the essential ones for the general public?

The cycle closes with the French "The Lovers of Teruel" (1962) and the Anglo-Spanish "Honeymoon" (1959) which are two European rarities of musical films with ballet with the particularity that in the second one Antonio Ruiz Soler, the greatest Spanish dancer of all times, dances.

We would like to know what is the future of the cycle, could you give us some progress?

I am grateful for the Museum's trust, which has allowed me to plan the cycle in the long term, so that, in outline and broadly speaking, my proposal for 2017 will be dedicated to Bach and dance and 2018 to Goya and ballet. The idea in 2017 is to recreate (and study) the mathematical connection between ballet and music, together with the permanence of the Bachian universe through 20th century choreography. And in principle, I plan to count on Nacho Duato and Heinz Spoerli (who has restaged last season at the Teatro alla Scala in Milan his extraordinary choral work on Bach's cello suites). The idea of the Goyaesque in ballet is an aesthetic mine and a theme on which I have already worked, but which always holds surprises. In both Bach and Goya we would follow the same scheme of presentation, and there are wonderful films to support them.
 

11 February. Coda in Motion.
The dubstep dancer Marquese Scott will open the second session with a performance in theatres. Roger Salas will then present the film "The Red Shoes", a 1948 film written, directed and produced by TheArchers, a team formed by Michael Powell and Emeric Pressburger. The session will close with the screening of the feature film "The Red Shoes".

Further information