The hidden jewels of Teatro Colón

His steps are measured, precise, his movement careful and yet there is a strength, a presence, that catches the eye and the attention. Federico Fernandez is an earnest and intense dancer, one that understands his roles and does not need to fall into an obvious theatrical play. The interpretation is happening under his skin, in small adjustments of muscular tension, in an abandonment to the moment. It is rare to see such a young dancer with such an awareness of the scene in its many facets, with such simplicity and concentration. For moments you can see how the audience is not even there for him, how he lives within movement, eats the space with those eager feet, slides like silk over the floor. The barrier between self, imagination and action is so thin that one aspect seeps through into the other. A mature, self abiding dancer. His latest role has been the main character in Mac Millan's “Manon”. Soon to follow a lead role in “Corsaire”. He has been dancing lead roles on and off for a while, has been invited as a guest to companies throughout Latin America and even offered positions in international companies. But that same singularity of thought that makes him an excellent dancer, also mirrors in his decisions. Federico likes Buenos Aires, he likes his theatre and does not wish to leave it. Is it that peace of mind, that makes watching him such a soothing experience?

Many top dancers have passed through the Ballet Company of Teatro Colón and moved on, some coming back every now and again for one production, others have disappeared permanently. The flight of talent has hit the company hard. But then, there are many hidden jewels in this theatre. Teatro Colón is the latest amongst lyrical theatres, its architecture alone is a marvelous sight. It is the only Latin American theatre with its own production workshops. The Ballet is emblematic for all of South America. The corridors whisper of so much history, so many glorious moments and standing on the main stage makes you fall silent, feel small and insignificant. On the other hand there are talents such as Federico, a lead dancer with a contract of the corps de ballet. A hidden jewel. With his 24 years, he is the youngest of the stable company. There is no space for young dancers to follow, since the available spots are occupied with dancers who are far over the age of dancing, but cannot be pensioned. The upcoming premiere of “Corsaire” with Paloma Herrera from the American Ballet Theater as a guest will be canceled. The dancers cannot rehearse, because they do not have proper floors to work on. Someone seems to be working very hard to hide those jewels and to loose them to others who appreciate them. Despite all and despite the tired look on his face, Federico manages to smile, he is confident that everything will turn out just fine, he believes in the future of “his” theatre, a theatre whose management does not seem to realize how lucky it is to have the support of its artists, to witness such determination and good will.

Of strikes and media ignorance – when politics kill art.

The current situation of Teatro Colón is between preoccupying and absurd. The theatre is emblematic for the art in Latin America, not only Argentina. It is a beautiful historical building, that was just reopened after six years of restructuring. But despite the millions that went into this project, something seems to have gone terribly wrong. The theatre doesn't look to be ready yet. The underground corridors are full of water leaks, unfinished, or already breaking down again. The rehearsal spaces for the Ballet Company, that counts with over a hundred dancers and works with international star soloists and known choreographers, are a danger to their health. But the dancers cannot afford to get injured since they have no medical attention nor a physiotherapist on site. Not to speak of administrative oddities. Like dancers who are part of the company but haven't danced in years. No open audition calls, but rather phone calls to random dancer's homes. Corps de ballet acting as soloists without the difference in payment.

The company has been in a strike for 12 days now, demanding a change of direction and humane working conditions. Since there seem to be political implications regarding the theatre, there is no media coverage in the country. It turns out to be a silent fight for dignity and respect, like so many other fights artists have fought, but this time it is preoccupying because it is a great theatre we are speaking about, a symbol, a representative of a nation. If there is no concern with art in Teatro Colón, is there any concern with art at all?

De huelgas e ignorancia mediática – cuando las políticas matan al arte.

La situación actual del Teatro Colón es tan preocupante como absurda. El teatro es un espacio emblemático para el arte , no sólo en Argentina, sino en toda América Latina. Se trata de un bellisimo edificio histórico, que acaba de reabrirse después de seis años de refacciones. No obstante los millones invertidos en este proyecto, por alguna razón parece un fracaso. Las obras no han terminado. Los corredores subterráneos están incompletos, dañados y en ellos se filtra agua. Los espacios de ensayo son peligrosos para la integridad fisica de la Compañía de Ballet, integrada por mas de cien bailarines, que trabajan con solistas internacionales y coreógrafos reconocidos. Pero los bailarines no se pueden lastimar, ya que no cuentan con atención medica ni con un kinesiologo in situ. Sin hablar de las peculiaridades administrativas, como bailarines que forman parte de la compañía pero no han bailado en años; no hay audiciones abiertas, sino llamados aleatorios a las casas de bailarines; integrantes del cuerpo de baile que actúan como solistas sin cobrar la diferencia correspondiente.

La compañía está en huelga desde hace 12 días, reclamando un cambio en la dirección y condiciones de trabajo humanas. Como parece haber implicaciones políticas entorno al teatro, no hay cobertura mediática del conflicto en el país. Termina siendo una lucha silenciosa por dignidad y respeto, como muchas otras llevadas a cabo por artistas, pero esta vez lo preocupante es que estamos hablando de un teatro importante, un símbolo, un representante de una nación. ¿Es la falta de interés por el Teatro Colón un síntoma de la falta de interés por el arte en general?

(Apoyo en traducción: Fernando Nuñez).