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| Victoria Galoto & Juan Paulo Horvath |
“I don’t like flying. My stomach
starts doing strange things. And my body
changes in ways you cannot believe. And
yet here I was ready to get on a non-stop United flight to Newark, New Jersey.
Up until Thursday August 8, 2013, I had never been in New York City.
They do things differently in at the Newark airport. Hailing cabs at the airport requires you to
punch a machine with information, getting a paper check, and then waiting for a
cab to take you to your destination.
Our cab driver was Haitian who drove very fast weaving in and out of a rain-slicked
road. I gasped a couple of times at the near misses this Thursday night.
And the guy on the radio said New York had the fourth best pizza in the
nation.
Having a very nice Italian take out, cheese, crackers and wine, I
retired for the evening to my room over looking the Upper West Side and the
Hudson River. I’m six foot six and afraid of heights and as I looked out the
window of the nineteen story penthouse I said height wasn’t an issue as long as
I thought I was on the first floor. Clearly, I needed a diversion.” - Narrator
Emotional and Neurohumoral Responses to Dancing Tango
Argentino
The Effects of Music and Partner
Cynthia Quiroga Murcia, MSc,
Stephan Bongard, PhD
and
The present study examines the emotional and hormonal
responses to tango dancing and the specific influences of the presence of music
and partner on these responses. Twenty-two tango dancers were assessed within
four conditions, in which the presence of music and a dance partner while
dancing were varied in a 2 × 2 design. Before each condition and 5 minutes
thereafter, participants provided salivary samples for analysis of cortisol and
testosterone concentrations and completed the Positive and Negative Affect
Schedule. The data suggest that motion with a partner to music has more
positive effects on emotional state than motion without music or without a
partner. Moreover, decreases of cortisol* concentrations were found with the
presence of music, whereas increases of testosterone levels were associated
with the presence of a partner. The authors' work gives evidence of short-term
positive psychobiological reactions after tango dancing and contributes to
understanding the differential influence of music and partner.
(*a steroid hormone released in response to stress)
Walter Kerr Theatre
A Jujamcyn Theatre
Jordan Roth, President
Rocco Landesman, President Emeritas
Paul Libin, Executive Vice President
Jack Viertel, Senior Vice President.
Luis Bravo Productions and Jujamcyn Theaters present Luis
Bravo’s Forever Tango at the 915-seat Walter Kerr Theatre, playing to packed
houses especially with Special Guest Stars Luis Enrique and Dancing With the
Stars dancers, Karina Smirnoff & Maksim Chmerkovsky.
I saw Mr. Chmerkovsky heading into a restaurant after the
matinee performance and I told him “Nice
job today!” He said thank you and
quickly walked away.
The tango originated in the lower-class districts of Buenos
Aires, Argentina and Montevideo, Uruguay and is a dance that has influences
from European and African cultures.
As the red curtain lifted from the stage, the upstage wall
was sprinkled with stars and slowly the lights on the orchestra enhanced the setting
to view men playing the Bandoneons:
Víctor Lavalléen, Carlos Niesi, Jorge Trivisonno and Eduardo Miceli, the
sound that makes tango, the tango.
Silently, and downstage right, Juan Paulo Horvath appeared
to be lifted behind an excessively large Bandoneons on stage and he waited
while a beautiful Victoria Galoto joined him in a marvelous opening number,
Preludio del Bandoneó y la Noche.
I found it fascinating the dances told a story mostly of
want, of love, and of revenge. The
couples meet, and there is either a fascination or mutual repulsion. Either way, they both are enchanted by the
act of dancing, forced or otherwise, and embrace, bringing together the feelings
shared between a man and a woman, the beating of two hearts. I especially found this to be true in El
Suburbio, a dance of passion, struggle, and want.
Juan Paulo Horvath and Victoria Galoto are exceptional
dancers and choreographers. They dance
so close, the steam from their bodies has little chance to escape, the footwork
impeccable and magical sometimes not knowing where the man ends and the woman
begins.
Marcela Duran and Gaspar Godoy find a way to put so much
human emotion in the dance without changing the passion from their esse in the
dance Soledad.
Mariana Bojanich and Sebastián Ripoll carry a solid strength
throughout their dance La Mariposa and Quesjas de Bandoneón.
Natalia Turelli and Ariel Manzanares provide a very funny
comic turn and certainly was a crowd favorite in their dance of La Tablada and
Felicia. Ariel Manzanares has a slight tuff in hair in the center of his scalp
gives off the appearance of an accountant after a long day who jumps at the
chance to dance with anyone, should she accept. And she seems to accept, very
hesitantly. Odd, that he doesn’t take the woman rather he slides into her
gently and away they go.
I don’t watch television so I didn’t know Karina Smirnoff
and Maksim Shmerkovskiy but they were a crowd favorite and the audience enjoy their
dance, choreographed by Juan Paulo Horvath and Victoria Galoto.
The other remarkable dancers were Soledad Buss & César
Peral, Aldana Silveyra & Diego Ortega, “Zumo” Leguizamón & Belén
Bartolomé, Florencia Blanco and Hernán Lazart.
Luis Enrique provided the singing with the songs Volver, Como
Volver a Ser Feliz, Yo No sé Mañana, El Día Que Me Quieras, No mes des La
Espalda.
This show has been running in New York for quite a
while. I found an interesting article
about the Tango Argentina here: http://tangovoice.wordpress.com/2009/12/05/the-essence-of-tango-argentino/
Luis Bravo was the creator and director of this fine show
and it moved seamlessly from beginning to end.
The wonderful music was led by Orchestra Director Víctor
Lavellén and the melodious Arrangements & Orchestrations were provided by
Lisandro Adrover.
On Violins: Leonardo
Ferreyra, José Luis Marina
Viola: Washington
Williman
Cello: Luis Bravo
Bass: Héctor Pineda
Keyboard: Maurizio
Najt
Piano: Jorge Vernieri
Costume Design: Miro
Affonso
Sound Design: Rolando
Obregón
Make Up Design: Jean
Luc Don Vito
Assistant Director:
Marcela Duran
Technical Supervision:
Hudson Theatrical Associates Neil Mazzella
Production Manager:
Carlos Díaz
Advertising & Marketing:
Serino/Coyne
Hispanic Marketing & Press Consultant: Publi-City
Press Representative:
O & M Co.
Run and take a friend who loves to tango.
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