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Tango Argentino (musical)
Musical by Hector Orezzoli and Claudio Segovia
| Tango Argentino (musical) | |
|---|---|
Tango Argentino - Dani and Silvina Valz-Obelisco in | |
| Premiere | 11&#;November ; 41 years ago&#;(): Théâtre du Châtelet, Paris, France |
| Productions | |
| Awards | Tony Award Nominations:
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Tango Argentino is a musical scen production about the history and many varieties of Argentine tango. It was created and directed bygd Hector Orezzoli[1] and Claudio Segovia, and premiered at the Festival d'Automne in Paris in and on Broadway in New York in The Mel Howard production became a world-wide success with numerous tours culminating with a huvudgata revival in – It set off a world-wide resurgence of tango, both as a social dance and as a musical genre.[2]Tango Argentino recreates on stage the history of tango
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The tango is based on suspicion, sex and insincerity. It is not a dance for virgins. It is for the wounded and the wary. The opening shots of Carlos Saura&#;s &#;Tango,&#; after a slow pan across Buenos Aires, are of a man who has given his life to the dance and has a bad leg and a walking stick as his reward. This is the weary, graceful Mario (Miguel Angel Sola), who is preparing a new show based on the tango.
At the same time, perhaps Mario also represents Carlos Saura. The movie, one of this year&#;s Oscar nominees, has many layers: It is a film about the making of a film, and also a film about the making of a stage production. We are never quite sure what is intended as real and what is part of the stage production. That&#;s especially true of some of the dance visuals, which use mirrors, special effects, trick lighting and silhouettes so that we can&#;t tell if we&#;re looking at the real dancers or their reflections. A special set was constructed to shoot the film in this way
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Tango
Carlos Saura has a long term and well earned reputation as a maker of beautiful films, particularly films built around dance. Blood Wedding, Carmen, and Flamenco (all available on video &#; see link below) are particularly worthy of note. Saura now gives us a wonderful two hours of Tango, using his well honed technique of layering levels of illusion and levels of reality.
Centering the story on a filmmaker, Mario Suarez, making a film about tango, Saura immediately creates the vehicle for multiple perspectives. What starts as a rehearsal scene in the movie being filmed, becomes a full fledged production number to us, in the audience. The drama within the dance scene relates back to Suarez &#; own story. (Saura/Suarez &#; thesimilarity is surely no coincidence.) Throughout, the structure of following Suarez&#; creative process allows Saura to give us a broad range of reflections on love and loss and aging, on Argentina and its history and politics, and, of course, o