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BEAUTIFUL DANCE / Solo on Bach & Glenn

English Translation by Albert Quesada
Dance Review: Dancing Notes

Albert Quesada & Vera Tussing. Bcstx Festival. Tantarantana Theatre, Barcelona. 29 May 2010.

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'The existence of a festival like Bcstx in a theater for small format works and by little known artists, is more than justified by the surprise of Albert Quesada and Vera Tussing, allowing us to imagine a brighter future for the scene of the country ... if they return. Because Quesada, despite being from Barcelona, has received its most important training in Brussels, where he currently lives, like many other young people who go to foreign schools, where they find more stimuli.

Among others, there he found the English Vera Tussing, with whom started collaborating, having as a first fruit Beautiful Dance: a really nice dance, with delicious music by Beethoven, to which they respond with steps and sounding movements of steps and rubbing that reproduce the original rhythm and melody. The idea is simple and the production austere, which emphasizes the value of both performers. With a black hat covering half the face, they are the musical notes that dance, converted in listening and instrument, receivers and transmitters of sensitive stimuli.

In the second part, the solo by Albert Quesada continues with musical analysis, now with the seminal figure Glenn Gould and his Goldberg Variations. Despite the prejudices of seeing them again, Quesada brings a new approach in finding the melody on words and subverting the creator in creation. Unlike solo of Maria Muñoz, who danced it dressed as a man, him wears a white skirt which flies with jumps and little jumps mirroring the filigree of the fingers of the pianist, and also his voice, as they include fragments of an interview. Quesada turns through what is being shown and what is not taught to show and guide us through the music and its creators, and from the choreograph that follows.

Tussing and Quesada represent a new generation that provides academic value to research and who is not afraid of using a precise technique for experimental purposes. We hope they'll be back.'

Barbara Raubert Nonell, News published at the newspaper AVUI, page 32. Tuesday, 1st of June 2010

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BEAUTIFUL DANCE

'Jumping and padding across the floor, Albert Quesada and Vera Tussing performed an excerpt from Beethoven's Sonata No.13, entirely with their feet. It was refreshingly different, simple and understated. Despite a lot of repetition in movement, the score allowed for gradual variation and development, with arms used to give more power to specific beats and floor patterns weaved to slow the tempo. Plain clothes, black woolen hats and backs to the audience kept all attention on the rhythms and patterns created. As the choreography came to an end, the lights dimmed and a traditional piano version of the Sonata was left playing. As I listened I could not help but envisage the skipping figures playfully marking out the music.'

Sarah Smith, dance critic of Metro, London

 

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Resolution! 2008, Robin Howard Dance Theater, 14th of February 2008

'It's curious how powerful something as simple as closing your eyes can be. Invited to do so by Albert Quesada and Vera Tussing at the opening of their Beautiful Dance, the ears were treated to the sound of rhythmic beats in the dark. To me it sounded like a body being massaged (wishful thinking: it had been that kind of a day) but on opening my eyes, it turned out Quesada and Tussing were tapping out complex syncopated patterns with their feet.

Using this simple technique, supplemented by gently humorous shadow projections, Quesada and Tussing ingeniously inveigled themselves inside Beethoven's Sonata No 13 in E Flat Major as played by Glenn Gould. Spare and skilful, punctuated by sections of complete stillness, this engaging duo mirrored the spirit of the music in their percussive limbs, producing an understated delight.'

Keith Watson, dance critic of Metro, London.