Tangueros Monthly Newsletter
The Tangueros' Nights
all were the age in which a bandoneÚn is a big thing
Pier Paolo Pasolini - The dream of one thing
the victorious premiere of Corazon Quebrado at the
International Festival of Nervi, Nueva Compania Tangueros comes
back to Italy and Switzerland towards the end of November with a short tour of
Tangueros Four Nights, the show that Mariachiara
Michieli and Marco Castellani have centred on the
innovative Tango of the Sixties.
The Four Nights the title refers to, have been spent in as many famous night-spots by a bunch of young dancers devoted to the raising Nuevo Tango and to its thorny beauty, in that enchanted swingin' Buenos Aires, which is now completly gone. We opted for giving large space in this monographic issue right to them young Tangueros who first had been promised freedom, and then convicted to exile and desperation. Here you will find some advance news on the piŤce, authors and performers, as well as a fair selection of reviews, whereas in-depth informations and the Alessandro Zunino's photos are available at our website.
Finally, this November Newsletter ends off by delivering the essential directions on dates, hours, Theatres, box offices..
Underground Buenos Aires
Astor Piazzolla dedicated the third movement of his "Histoire
du Tango" to the Night Club 1960, he was probably paying his
tribute to one of the most emblematic Tango places in the Tango history. Those
legendary night spots (among them: the Gotan, the 676, the CaŮo
14, El Puchero Misterioso, El Taller Garibaldi) feeded
and sheltered many of the genial creators of the so-called Nuevo Tango.
We are of course speaking of the swinginí Buenos Aires of the
Sixties, when in Argentina as well as all over the world, the winds
of change were blowing. After those incredible years, nothing was ever the
same, not even a music so deeply rooted in the popular soul, like the Tango
In those scanty, poor clubs, many Tango musicians such as Astor Piazzolla, Eduardo Rovira, CŤsar Stroscio, Horacio Salgŗn, Osvaldo Pugliese or free-jazz men like Steve Lacy and Enrico Rava, had the opportunity to play their own music in total freedom. Also the revolutionary poets Juan Gelman and Paco Urondo came and read their flaming verses almost every night. Even several outstanding tangueros such as Anibal Troilo, Roberto Goyeneche or Susana Rinaldi, after their profitable performances in the Avenida Corrientesí theaters, used to drop in at dawn for "the last Tango but one" with the angry young men. In a word, in those clubs and in those years, the Tango lived a happy season in which the innovating and the traditionalist opposite bastions were not too stranger to themselves and to each others. Afterwards, the deadly military dictatorship came to destroy the whole social (and artistic) tissue: they tortured, they killed, they exiled. In consequence of this, even the toughest milongueros, in their most clandestine ballrooms, gave up the dancing for ten years.
Tangueros Four Nights takes up the thread of that broken scene and restarts from the raw Tango that was partially foreseen in those creative workshops over thirty years ago. This show blends together the romantic Tango of the golden age (the endless three-minutes melodramas) with the Nuevo Tango's thorny beauty. "Tangueros Four Nights - as a critic has recently written - stages a show with no story, no scenes, no tears of salt. They play and dance the freedom of a lost underground Buenos Aires."
The four choreographic sections are dedicated to as many clubs that were operating in those years in Buenos Aires. Each section differs also in style and it is introduced and closed with coherent tunes (the famous cortinas).
El Andariego (The Wanderer) is a place that only exists in our imagination: in a certain way it represents the revolutionís premises, the first steps. The Tango of this section is danced on the ground, intensely but restrainedly, it is a sort of controlled fire. It is Romantic Tango with a tension to innovation. We have selected the music among the Osvaldo Puglieseís repertory and arrangements because Mr. Pugliese was the man who marked the Tango scene the most, at the end of the Fifties.
Berretžn (Love crazy) was the name of a real club that took place at a sideway of Avenida Corrientes, the avenue that never sleeps. This choreography has been inspired by the new way of falling in love experienced by the new generation: free, passionate and ironic. The three tunesí common rhythm is the vals criollo, which is the most romantic and apparently simple Argentine dance. Nevertheless, we dare to say that very few pairs can dance the vals criollo well, even in Buenos Aires. Besides, these arrangements are very sophisticated.
We have named the third section Gotŗn (Tango spelled backwards) after an incredible place that runned from 1963 to 1969 at Calle Talcahuano 360. All the best Nuevo Tangoís creators (Astor Piazzolla, Eduardo RoviraÖ) performed here: Gotŗn was the hub of the Buenos Airesí underground scene. The choreographic composition is more articulated; sometimes the indissoluble Tango pair splits, there is violence and perhaps desperation; we can also notice the influence from other languages, such as the contemporary dance or the rockín roll. We tried to imagine a choreographic interpretation to the new music given by a bunch of young Tango dancers. Our orchestra, the Sexteto Canyengue, is our ideal band since they can play very well either the Piazzollaís music and the Puglieseís style. And they are young and open-minded, just like those Gotŗn goers in the Sixties.
El Puchero Misterioso (The misterious soup) was the name of a club established by the Raul Gonzalez TuŮonís followers. This section represents the State of the Art, whatís left of the Romantic Tango melted with the Nuevo Tangoís tough beauty. The music is the living proof of the continuity in Tango. Avant-garde tunes that suit the modern Buenos Airesí soul.
Mariachiara Michieli and Marco Castellani - Buenos Aires 1998
Authors and Performers
Tangueros Four Nights was created, produced and directed by Mariachiara Michieli e Marco Castellani during the austral winter of 1998-1999. The show, after a few trial previews, opened at Teatro Ciak in Milano in March 1999. The first version was with eight dancers. The present version with ten dancers was created in May 2000.
Choreography by Mariachiara Michieli
Music by Osvaldo Pugliese e Astor Piazzolla
Live performed by Sexteto Canyengue
Music Direction by Carel Kraayenhof
Lights by Chris Young
Set and Costumes by Mariachiara Michieli e Marco Castellani
Sabrina and Ruben Veliz
Valentina Villarroel and Claudio Gonzalez
Alejandra Armenti and Daniel Juarez
Iris Gomez and Roberto Leiva
Silvina Aguera and Sebastian Romero
Carel Kraayenhof bandoneÚn
Peter Reil bandoneÚn
Martijn Van Der Linden violin
Willem Van Baaersen violin
Sebastiaan Van Delft piano
Sanne Van Delft double bass
The Critic Fortune
piŤce revealed itself a well-structured and graceful choreographic artwork,
with no concessions to the folkloristic-passionate taste, but rich in
intersting references to the social and cultural context. Especially the
choreography named Gotŗn stands out for intensity and pathos: in here the
dance relates with tragic awareness the voiceless pain of the victims of
oppression, the dictatorship's cruelty. The dancers are very good in technique
and expression. Unreserved praise to Sexteto Canyengue."
Maria Josť Di Marco - Corriere del Mezzogiorno, 10 marzo 1999
dance leaks out sensuality and sentiment. No acrobatics, no excess. The four
couples of dancers parade in front of the band with elegant postures. Far
from that certain showy attitude that have contaminated the late
interpretations of Tango. Languor and emotion, energy and distress: all the
paradoxes that feed the mistery of this dance, have been re-written for the
stage by the authress. Her complex steps give us a charming geography of
wistful tones, poignant nostalgia and stolen tensions ."
Elena Franceschini - Alto Adige, 4 aprile 1999
1992, Tangueros has changed a lot, but not in the will to measure oneself with
the deepest nature of Tango, which actually provides the Company with a style
even more incisive and elegant than ever. Mariachiara Michieliís latest and
very sophisticated creation proves all that. Her extraordinary troupe of
dancers (Sabrina and Ruben Veliz among them) and the superb Sexteto Canyengue
melt wonderfully together. This passion for rescueing a dialogue with music,
not built upon the stock combination between strong accents and sensational
attitudes, induces Ms. Michieli to create refined choreographies in which the
dancers' movements articulate with the melodic lines and the different
Francesca Pedroni - Danza & Danza, maggio 1999
Tangueros have chosen the toughest way: just Nuevo Tango from the Sixties, the
post-peronist swingin' Buenos Aires, Piazzolla and Pugliese, no glamour. The
dance is very stylized, with few acrobatic moments; it doesn't come to terms
with the showy stuff too much. The Sexteto Canyengue's mastery stands out but,
frankly speaking, two acts of plain and cerebral Nuevo Tango try sorely even
the coarsest insomnia."
Sergio Trombetta - Panorama, febbraio 2000
"It is the most elegant and sophisticated in the world, the Tango that Nueva Compania Tangueros brought to Parma after four years at Teatro Regio's summer festival. The new Tangueros of today consists of five couples of young dancers from Buenos Aires, but the Company's spirit did not change; if anything, it seems to be even more sophisticated in its concept, in its way to dance the Tango. There is no trace of the kitschy folklore that is quite typical of many Argentine shows: there is just dance in here, plain style, elegance and beauty, and the conquered audience replies with endless cheers."
Valentina Bonelli - Gazzetta di Parma, 26 luglio 2000
25 - 08.30pm
Neuchatel Dance Festival - Nouveau Theatre du Passage, Neuchatel (Switzerland)
26 - 09.00pm
Vercelli, Teatro Civico
27 - 09.00pm
Aosta, Teatro Giacosa
28 - 09.00pm
Vigevano (Pavia), Teatro Cagnoni
29 - 09.00pm
Rovereto (Trento), Teatro Zandonai