WHEN THE DISGUISES ARE HUNG UP

WHEN THE DISGUISES ARE HUNG UP

ORIGINAL IDEA AND DIRECTION: CLAUDIA LAVISTA Y VÍCTOR RUÍZ

Work nominated for Best Touring Show Awards granted by the Austin Critics Choice Award

Length: 55 minutesTarget audience: All public

Synopsis

Delfos presents When costumes are hung , an impressive work, full of symbolism and a close visual work has been presented with great success in Mexico, Latin America and EU.

The mask is a disguise, a maneuver sometimes useful, but the masks have an expiration date and, ultima-tely, we are all who we are. Our real identity will always appear at the end ... or before. With its successful and new production explores Delphi masks we use to survive, to love and to co-exist in a reality that appa-rently does not allow us to free ourselves from our own costumes. With the dazzling costumes of Eloise Kazan, by the effective and well integrated video-scenic design, this production becomes a visual delight.

"Shocking wore the new choreography of Delfos in which he was exploring and questioning deeply everyday life. The interpretive power of its members, added to real-time video, computer animation and music composition, kept the audience immersed in the work. A standing ovation dismissed Delfos dancers by the premiere of "When the Disguises are hung up."

Hector Guardado, El Noroeste. Mazatlan-Mexico

HAS BEEN PRESENTED AT:

Teatro de la Ciudad / Ciudad de México 2009

Ravinia Festival / Chicago Il  EU 2010

Perfoming Art Season / Austin Tx EU2010

Teatro México / Quito Ecuador 2010

Festival Danza Contemporánea InVitro / Cuenca Ecuador 2010

Un Desierto para la Danza Festival / Hermosillo Son. Mex.  2010

Universidad de Florida /Gainesville Florida EU 2011

Festival Internacional de Danza EDANCO / Santo Domingo Republica Dominicana 2011

Festival Cervantino / Guanajuato Gto. Mex. 2012

Temecula Dance Series / Temecula CA EU 2012

José Limón Festival / Mazatlán Sin. Mex. 2015

Meany Studio / Seattle WA EU 2015

Center for the Art of Performance at UCLA / Los Ángeles CA EU 2015

Bates Dance Festival / Maine EU 2015

Festival FI Danza / Playa del Carmen Mex. 2015

Danza Carmen Festival / Campeche Mex. 2016

CREDITSConcept and Direction: Claudia Lavista (1) and Victor Manuel Ruiz

Dancers: Xitlali Piña, Roselí Arias, Claudia Lavista, Daniel Marín, Omar Carrum (2), Johnny Millán

Music: Mario Lavista, Meredith Monk, Michael Galasso, R. Schumann, John O´conor, Sergio Díaz, J.S. Bach, A. Vivaldi y Bruno Coulais.

Videos: Renato González and Ricardo Arzola

Wardrobe Desing: Eloise Kazan

Wardrobe Production: Amada Valencia, Elisa Espinosa, Liliana Escobedo, Carmita Soria y Ester Orozco.

Lighting Designer: Víctor Manuel Ruiz

Stage Manager and Technical Production: Rigoberto del Valle

Work produced by Programa de Apoyo a Grupos Artísticos Profesionales de Artes Escénicas "México en Escena", Sociedad Amigos de Delfos and Instituto de Cultura, Turismo y Arte de Mazatlán

1. Member of National System of Creators of Arts 2015-182. Member of National System of Creators of Arts 2014-17

Delfos Contemporary Dance Company was founded in 1992 by Mexican choreographers/dancers Claudia Lavista and Victor Manuel Ruiz with the vision of creating dynamic new works in the spirit of collaboration, as well as developing a professional training program for contemporary dancers. 

The company is a unique collective of artists whose creative vision is characterized by its physical, theatrical and visual scenic language in constant search of new poetic narratives within their diverse repertory. Delfos’ work has been presented throughout México as well as in Brazil, Venezuela, Colombia, Panama, Ecuador, Bolivia, Peru, Canada, the United States, Italy, Spain, France, Singapore, South Africa, South Korea, Lebanon, Algeria, Lithuania, and Greece.

The Company has received worldwide critical praise, as well as several major international awards for Dance including: The Mexican National Dance Award in 1992, 1997 and 2002, the Award as Best Dance Company in Mexico by the Critics Union, the Artistic Merit Award in Brazil and the Best Show Audience Award at the XXV Lila López International Dance Festival in 2005 in San Luis Potosi.

Delfos had the distinct honor as the only Mexican dance company selected to tour extensively in the United States in the fall of 2004 with the support of the National Endowment for the Arts in association with the National Dance Project of the New England Foundation for the Arts. The tour included a successful week-long run at the Joyce Theater in New York as part of the Mexico Now Festival.  In 2005-06, Delfos returned to the United States with the support of Artes Americas. Delfos toured the US again in 2008-10.  In 2011 the company was nominate for the Austin Critics Choice Award for Touring show with the piece When the disguises are hung up.

In 2014-15 is selected by Southern Exposure/ Performing Arts of Latin American, Mid-Atlantic Arts Foundation, to tour in the US in 2015, which included the Washington University in Seattle, UCLA in Los Angeles and the Bates Dance Festival in Mai-ne.

In 2004, 2007, 2009, 2011, 13 and 15 Delfos received the Professionals Artistic Groups Scenic Arts MEXICO EN ESCENA Pro-gram, from CONACULTA, which is given to the most prestigious artistic companies in Mexico.

Since 2008 directs the Dance and Consciousness program, a community project that brings dance to marginal sectors of Ma-zatlan, in order to re-build the social net through art. Currently we work with 500 children, adolescents and adults.

The company has maintained a constant interest in the creation of projects in collaboration with creators of other artistic dis-ciplines, which has allowed us to work with outstanding national and international artists of different disciplines and visions.

Since 1998, Delfos Contemporary Dance has run the Mazatlan Professional School of Dance (EPDM); a dance Conservatory that offers a Bachelor of Arts degree program with an interdisciplinary curriculum. Has graduate 15th generations of dancers and young choreographers, its Academical director is Omar Carrum, and the Artistic Directors are Claudia Lavista and Víctor Manuel Ruiz.

Today Delfos and the EPDM are recognized as two of the most important contemporary dance organizations in Latin America.

BIOGRAPHYDELFOS

CONTEMPORARY DANCE

GALLERY

MULTIMEDIALink Vimeo

https://vimeo.com/105014856

Gallery / Web Page

http://delfosdanza.org/galeria-gallery/

PRESS

In September, 2014, Michelle Witt had the opportunity to travel to the city of Mazatlan to visit Delfos Dan-za Contemporanea, Mexico’s premier dance company, at its home at the Angela Peralta Theater, located in the city’s historic district. Delfos is remarkable for many reasons, not least in that they have chosen to make Mazatlan, a working class city of some 400,000 souls, their home.

The company was originally founded in 1992 in Mexico City by the Mexican choreographers Victor Manuel Ruiz and Claudia Lavista with the objective of opening a space for creation, exchanges, professional trai-ning and communication through contemporary dance.  Five years later, they were invited to Mazatlan to become the resident company at the historic Angela Peralta Theater and run what was to become one of Latin America’s leading contemporary dance academies.

Delfos is a laboratory of movement arising from a creative process that involves introspection within both emotional and physical worlds. Its purpose is to create an intimacy with dance movement that explores hidden landscapes of emotion and physical structures and forms.  This aesthetic vision of its members has given Delfos a unique personality characterized by a tremendous fluency, physicality and poetry con-tained in a broad range of their works.

They have been honored multiple times with the Mexican National Dance Award, received an award as Best Dance Company in Mexico, an Artistic Merit Award in Brazil and received honors and support from the National Endowment for the Arts, Mellon and Guggenheim foundations and many others. On this trip, Michelle discovered that what they have created is truly extraordinary, both in terms of artistic creation and the fostering of a community of dance and contemporary art. They are a dedicated creative commu-nity that is a major force in Latin America’s contemporary dance scene.

The streets out in front of the school were teaming with dancers having just rehearsed, going in to class, just hanging out and chatting with their many friends and colleagues. The Mazatlan Cultural Center where the school is housed also has a multi-disciplinary arts program – and students from the disciplines of vi-sual art, music, theater and dance socialize together in and around the school and on the streets of the plaza. The core of this community is Omar Carrum, Victor Manuel Ruiz and Claudia Lavista– co-directors of the school and the creative forces behind Delfos choreography and powerful approach to dance.  Del-fos attracts students from all over the world to be in residence here either in the BFA program or the year-long international exchange program.  

Michelle spent her first day with Omar and Victor Manuel, attending a rehearsal and discussing the con-tent of the Company’s UW World Series residency the following April, 2015—an exciting combination of activities to include modern dance master classes, a creative process class where the company will dis-cuss their own creative process, a workshop at Velocity Dance Center and other events in addition to their performances in the Meany Theatre Studio of Cuando los Disfraces se Cuelgan (When the Disguises are Hung Up), an evening-length work that integrates dance, video, computer animation and music to explore identity and the unveiling of our interior world. (Read more about her experience, and look at the amazing photos and videos she took, in our Michelle in Mazatlan series!) 

Almost a year has passed, and Delfos will be here in less than a month. Bringing them to the UW World Series fulfills part of our vision of introducing our audience members to contemporary Latin American ar-tists and important dance artists around the world.  We are partnering with colleagues at UCLA and the Bates Dance Festival (with whom we received a consortium grant from the Mid-Atlantic Arts Foundation in support of bringing Delfos to each of our stages) to develop and share contextual materials about the ac-tual performance, and to engage in a national conversation about contemporary dance in Mexico.

We hope we’ll see you in April at the Studio Theatre to see this remarkable company perform work that is provocative and aesthetically stunning, and explores the complex, sometimes contradictory culture of modern dance from a sophisticated Mexican perspective.

When the Disguises are Hung Up: Delfos Danza Contemporanea Comes to Meany Studio Theatre

Mexican dance company performs poetic piecePosted Sep 15, 2011 at 12:01 AM

Mexico's award-winning Delfos Danza Contempor?a will perform an evening-length work, "When Disguises Are Hung Up," at the Phillips Center tonight at 7:30.

By Sarah Ingley

Mexico's award-winning Delfos Danza Contemporánea will perform an evening-length work, “When Disguises Are Hung Up,” at the Phillips Center tonight at 7:30.

Delfos Co-Artistic Director Claudia Lavista, who conceived the work, explains what audiences can anticipate from tonight's performance in terms that everyone can relate to.

“It's a piece that explores the disguises we use every day,” Lavista says in a phone interview from Mexico. “Some can be harmful, some can be useful. But in the end, all masks fall away, and we are left only with what is real.

“This is a work that is full of life, with light inside of it,” she adds. “It's not dark at all.

Not a narrative and more of a “poetic piece,” Lavista says, “When Disguises Are Hung Up” has a small cast, with only six dancers. Costume design and videography help to fill the stage and propel the work, she says.

“The costume changes, the video design and the suggestions they create, make this piece very rich,” Lavista says.

“The whole piece is like a journey. It begins with what is just a slight suggestion of Adam and Eve, and continues into the construction of the characters, with new elements and the theme of masks, introduced. We see how complicated and heavy their lives can get, and that ultimately, the lighter we are, the happier and freer we become.”

Before pursuing dance at age 14, Lavista was already in a performing arts family. Her father, Mario Lavista, is a well-known pianist and composer in Mexico. “He's had a huge career,” his daughter says, “composing and recording for orchestra, small ensembles, and film scores. He has records in London, Paris, the United States.”

Music by Mario Lavista forms part of the musical palette of “When Disguises Are Hung Up”. Additional recordings include the music of Schumann, Bach and Meredith Monk.

“It's a really nice musical map, which we assembled very carefully,” says Lavista. “It encourages the piece to move from scene to scene.”

In addition to music, Lavista cites poetry, visual art and quotidian moments of everyday life as “huge sources of inspi-ration.”

“Every dancer gave some movement to the piece, too,” she adds. (Delfos works through a collaboration, directly in-volving the cast in all of the company's creative processes.) “From costumes to choreography, the piece is about the dancers, too.”

Lavista formed Delfos Danza Contemporánea in 1992 with her professional partner Victor Manuel Ruiz.

“We won the national dance award that same year,” she says. “This pushed us ahead very fast, and we haven't stopped since.”

Cuando los disfraces se cuelgan Manuel Stephens

“El mundo es un gran teatro,/ y los hombres y mujeres son actores./ Todos hacen sus entradas y sus mutis/ y diversos papeles en su vida”, esta es la célebre reflexión de uno de los personajes de la comedia Como gustéis , de William Shakespeare. En la tradición hispánica contamos con el auto sacramental de Pedro Calderón de la Barca cuyo título se ha vuelto una máxima: El gran teatro del mundo. La vida humana como representación teatral es un tema presente desde la época grecolatina y se manifiesta bajo las improntas históricas e ideológicas de los autores que han recurrido a él. En la postmodernidad, el theatrum mundi es un tópico que adquiere múltiples formas y es cuasi omnipresente, ya que permite discernir sobre su preocupación central: la identidad.

Los procesos de globalización, el consumismo voraz, el vertiginoso avance tecnológico, la migración real y virtual, han hecho que después de la conceptualización modernista basada en un sujeto centrado que puede controlar y mejorar el mundo a futuro, se genere un sujeto que vive siempre en el presente, a expensas de una realidad cambiante, cuya identidad depende de su adaptación a las necesidades creadas por el mercado. Los roles sociales que las personas asumen dependiendo de la circunstancia se enfatizan tanto como se transforman. Las identidades se vuelven transitorias. Pero, si bien el mundo siempre ha sido un escenario, las respuestas al estar en el mundo, desde el surgimiento del psicoanálisis, han dejado de estar afuera y se han interiorizado.

Cuando los disfraces se cuelgan, de la compañía Delfos, bajo la idea original y dirección de Claudia Lavista y Víctor Manuel Ruíz, busca contestar a la incógnita de si es posible encontrar un yo despojado de todo condicionamiento social. Es una obra de gran formato que revela un cambio sustancial en la estética de Delfos. Alejándose de la corrección política que caracteriza sus producciones anteriores, Delfos consigue un discurso poco narrativo, y que se inclina hacia la abstracción con resultados sorprendentes.

La obra inicia con la proyección en video en blanco y negro de un árbol en cuyas ramas se vislumbran figuras humanas que no se alcanzan a percibir todas como reales o no. El árbol, símbolo inmemorial como eje del mundo y de la perpetua regeneración del Cosmos, inicia un tejido de danzas que fluyen con contundencia poética. Se trate de solos, duetos, etcétera; a cada paso se crean imágenes que remiten a la interacción entre seres inmersos en la disyuntiva de la alteridad: una mujer de pie sobre dos cuerpos que son su caminar y su detenerse, cuerpos que se enciman o que se sostienen sobre los otros y avanzan con los pies al aire, cuerpos que vuelan y que, al contacto del otro, modifican perpetuamente su estar.

El vestuario de Eloise Kazan –los disfraces–, diseñado con una paleta de colores cálidos y terrosos, juega un papel importante, ya que contribuye de manera doble a la metáfora que construye el espectáculo. De principio, los personajes dejan ver músculos, órganos y huesos impresos en el torso, durante la obra estarán vestidos y a la vez desnudos radiográficamente. En una escena, los personajes se encuentran unidos por la espalda usando sacos; el encuentro y necesidad del otro se ostenta como la unión en la que, paradójicamente, los seres ven en direcciones distintas.

En la obra hay una sutil y atinada referencia a la Commedia dell'arte y un par de personajes utilizan máscaras (en latín personae –ser persona conlleva una máscara); se hace patente la teatralidad en que conviven cuando son manipulados como marionetas con “tendones” que se desprenden de su cuerpo, asimismo como cuando un “vestuarista” que los ronda les da zapatos que se vuelven alas. Esto servirá como puente para concluir la metáfora del espectáculo. Las aves irrumpen a lo largo de la obra y acaban por ser una identificación de los personajes. Pero las aves son también un símbolo del alma, eso que al parecer, sin disfraz –sin ser persona–, nos haría únicos e indivisibles. Es memorable la escena final en que un demiurgo, quizá, va colectando las aves en una jaula para concluir con ellas volando alrededor del árbol y los personajes en un estado de contemplación.

Cuando los disfraces se cuelgan marca rumbo nuevo para Delfos que, como siempre ha sido, para esta obra mantiene entre sus filas a bailarines verdaderamente portentosos: Aura Patrón, Claudia Lavista, Surasí Lavalle, Omar Carrum, Agustín Martínez y Johnny Millán.

!!

Delfos

TECHNICAL REQUIREMENTS

Stage:10 meters deep

14 meters wide

17 meters tall

Floor: White marley dance floor (non- negotiable)

Hanging Goods1 black borders 8 black legsa black curtain or traveler the width of the stage 1 Black shark’s tooth scrimIt is indispensable that the theatre provide the props. Pipes

Lighting Equipment:26 ETC units that are 26 degree barrels for booms, each 750 watts

27 ETC units, zooms that are 20-50 degree range 750 watts, specials overhead

11 units that are 10 degree barrel with 1000 watts, FOH

20 Par 64 units, 1000 watts, back light 12 Fresnels, 1000 watts each

6 Robotic lights, SUPERSPOT 1200 SHOWCO (this is indispensible)

Light board with 24 channels and 12 submasters minimum

Lighting Gel Colors Lee-CONGO 181 -SKY BLUE 068-RED 027 backlight -MEDIUM BLUE 116 -ORANGE 158

Sound: Amplification that is sufficient for the theatre

2 monitors on stage for the dancers2 cd players1 console with 12 channels

2 Speakers backstage

Special Effects:2 Fans2 hazemaker with remote controls1 Projector of 10,000 lumens, SONY

Technical People:1 Light board op2 lighting techs for hang and focus 1 sound board op2 stage hands2 Props people1 Robotic lighting programmer

Special Technical Needs1. Robotic lighting programmer2. We need to install in the floor of the theatre,two chairs cover with black fabric complete

IMPORTANT NOTE: These needs are totally indispensible, for our show is based in projections and robotic light and that those lights are SHOWCO SUPER SPOT because of the gobos, and with these things we can handle this work.

19 de noviembre de 2015

LIGHT PLOT

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GENERAL REQUIREMENTS

Assembly time: One day before the show and the day of the performance (14 hrs in total.)

Disassembly time: Three hours

Assistance: There should be a doctor present during the performance.

Two bathrooms with showers and 8 towels.

Catering will be appreciate: fruit, water, juice and coffee.

Rehearsal: A dance room is requiere for three hours, both the day before and the day of the performance.

Number of people traveling:

9 people: 6 Dancers / 1 illuminator / 1 Stage Manager / 1 Video

Rooming List: 4 Double rooms 1 Single room

The accommodation will be paid by the organizer event

Per diems will be covered by producer: $35 USDOLLAR in cash per day per person.

Inner transportation will be requiered

The cargo shipping will be paid by the organizer event.

Performance Fees:

$ 3,000 US DOLARS

Invoice for payment of Delfos will be given out to:

Mitologías en Producción S.C

RFC: MPR080829G79

Address: 6 Colonia Loma Linda Puebla CP 82000

Mazatlán Sinaloa

CREDITS DELFOS

CONTEMPORARY DANCEResident Company at Teatro Angela Peralta in Mazatlán

Co-DirectionVíctor Manuel Ruiz y Claudia Lavista

DancersKarla Núñez, Claudia Lavista, Aura Patrón, Xitlali Piña, Roselí Arias, Surasí Lavalle, Omar Carrum, Agustín Martínez, Johnny Millán, Daniel Marín, Renato González y Víctor Manuel Ruiz

Desing and LightingVíctor Manuel Ruiz

Technical ProductionRigoberto del Valle

Costume ProductionJohnny Millán

ManagementAna Elena Morales

Administrator

Mary Paz Pérez

Manager:

Lynn Fisher/ Frontera Arts

General Coordination Claudia Lavista

Imagen, Audio y Video Renato González y Omar Carrum

EPDM Academic DirectorOmar Carrum

EPDM Administrative CoordinatorMartha Castillo

EPDM Artistic Co-directorClaudia Lavista y Víctor Manuel Ruiz

PhysiotherapistDra. Maria del Carmen Chaparro

Fotografía / PhotographyAna Elena Morales•Mazatlán Sin

Martín Gavica•Mazatlán Sin Lois Greenfield•Nueva York

Colin Dunn•Mazatlán Sin

Contributors: Amigos de Delfos, Instituto de Cultura Turismo y Arte de Mazatlán, Centro Municipal de las Artes, CONACULTA-FONCA e Instituto Sinaloense de Cultura.

Counselors: Raúl Rico, Carlos Berdegué, Patty Kronemeyer, Juan José Ruiz, Martín Gavica, Juan Ordaz y Laura Peniche

Friends of Delfos: Mark Kronemeyer , Marcela González de Rico, Laura Graef de Ruiz, Juan Carlos Ordaz, Dolores Sacristán de Berdegué, Carolina Gutiérrez de Pruneda, Dra. María del Carmen Chaparro, Gaspar Pru-neda, Ana Belén López, Dr. Eduardo Valle, Gabriela Ramírez,  Raúl Carreón Álvarez, Andrea Martínez de Castro, Sheila Madsen, Soren Madsen, Richard Marin, Kristi Bishop, Martha Anguiano, Socorro Luna, Roberto Coppel Azcona, Alfredo Gómez Rubio, Rodrigo Becerra, Daniela Rodríguez, Dr. Marco A. Álvarez Arrazola, Dr. Steven Backman, Moisés Himmelfarb, Gilberto Avilés, Cecilia López, Eugenia Hernández, Marianne Biasotti y Diana Lem. 

CONTACTOffices in MéxicoClaudia Lavista, Co-directora/Co-director Ana Elena Morales- Gerencia/ManagementTeatro Ángela Peralta. Carnaval s/n, Colonia Centro, 82000 Mazatlán, Sinaloa. México Tel: (52-669) 981-48-69 / 982 4446 y 47 ext. 108Correo electrónico/ email: infodelfos@yahoo.com

ManagerLynn Fisher

3102 Lakeway Blvd., Austin, TX 78734, Tel: (512) 261-9381

frontera.arts@gmail.com

CONTACTDelfos danza contemporáneaDirectors: Claudia Lavista - Víctor Manuel Ruiz Web Page: www.delfosdanza.org

Offices in MéxicoClaudia Lavista, Co-directora/Co-director Ana Elena Morales- Gerencia/ManagementTeatro Ángela Peralta. Carnaval s/n, Colonia Centro, 82000 Mazatlán, Sinaloa. MéxicoPhone: (52-669) 981-48-69 / 982 4446 y 47 ext. 108Email: infodelfos@yahoo.com

Lynn Fisher / Manager3102 Lakeway Blvd., Austin, TX 78734,

Tel: (512) 261-6979lynn@fronteraarts.com www.fronteraarts.com