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May 28, 2009

Eugenia Parrilla Interview, Part 2


Continuation of interview with Eugenia Parrilla, Chicago 2006

B: It seems like what you were saying is that what fascinates you about the milongas is the closeness of the people even though they’re strangers, and the connections and that sort of thing. But when you went to study with Mauricio Castro and Fabian Salas you found something different and you call it the movement.

E: The freedom of the movement.

B: As opposed to what?

E: The opposite of the intimacy, of the intimacy from the contact. And this appeared to me to be a contrast, but now I think that both have to go hand in hand. One cannot exist without the other, because the dance… the freedom in the dance… without entering into the depth in the connection with the other, and from something spiritual that carries you to the music, is an empty dance. Movement for movement's sake and nothing more for me seems difficult to provoke a sensation in the other. To me it has to go to the depths to be able really get into what the music is saying.

B: Mm hmm. That’s very interesting because you tried tango in the milongas and you liked the idea of the intimacy, the closeness, that age isn’t important. And then you went to study with Salas and Castro and you were fascinated by the movement. And now it seems like you’re at a stage where you think that the two things need to be integrated.

E: In my eyes the two can’t be separated.

B: For example, let’s take the show you guys did yesterday. Do you see yourself dancing in this way that you’re saying you think it should be? And how do you see the other couples that danced with regards to the freedom of movement and the intimacy?

E: Well, I’m not sure how I see myself. In reality, I attempt. I attempt to unite both things that for me have… they’re connected to the music and to each other. To be able to reach that state. It’s like yoga. You reach a spiritual state to be able to go into the depths of a sensation. Because the music doesn’t consist of just the rhythm. It has… life, sadness, happiness.

B: So you, for example, when you were dancing yesterday, you felt like… Well, a show is a little different, right? But when you talk about that you mean…

E: It’s really not different because we improvise, so you have to go to that. I think in reality in both types of dancing you have to go to that. Whether it’s choreography or improvisation. But since the improvisation is completely spontaneous, I think it’s very important to reach that state. It seems to me that tango is in a process at the moment. It’s in a process of integration. And if that integration doesn’t occur, for me it will be lost. Because already, all the people are crazy about the tango that’s more free, more new. But for me it’s not about doing the craziest moves you can, but instead being able to integrate the two things because otherwise in the end, it’s like, for me, what happens to me is I reach a point where I stop watching because… the movement by itself is empty.

B: It's empty. And it tires.

E: And it tires. Because it becomes, well, I don’t know. You don’t know what they did ... if it was a sacada ... it’s like ... well, it’s all the same. But if it goes along with the music, and if you’re like another instrument in the music and you can connect with the other person intimately, it seems to me that that is when it becomes interesting. I believe that’s the point the couples hope to reach. I think that this is in process with the young people. Also, it seems that it is a question of being open or a matter of taste. [inaudible] Because they’re not interested in doing a tango that’s more free, more new.

To be continued.

Posted by joegrohens at May 28, 2009 08:28 PM


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