Arantxa Aguirre -Pasión por la Danza-

Cartel de "Dancing Beethoven"

Leía yo en una entrevista que la directora de “Dancing Beethoven”, Arantxa Aguirre, había pasado de joven una temporada en Bruselas en el Ballet de Maurice Bejart, además de ser confesa entusiasta y espectadora. La faceta documental de esta directora es utilizada como trampolín para el buen gusto y conocimiento de lo que se quiere rodar. Es fundamental en todo artista una responsabilidad que le lleve a elegir cuidadosamente las historias que nos quiere contar a los demás. No es lo mismo ir a documentar conflictos bélicos, desastres naturales que hacer documentales dentro del ámbito artístico, poseedores de un mensaje de conciliación y convivencia, entre los humanos. La elección de los temas exige esfuerzo y dedicación plena. La consecución de la belleza tiene que estar a la altura de lo escogido. Es por ello que Arantxa Aguirre rayando, exquisitez y el elitismo, se pone al servicio de dicha belleza con todos los conocimientos que posee y su larga trayectoria de aprendizaje, de la mano de cineastas de lo más granado de este país, siendo ayudante de dirección de Basilio Martin Patino, Mario Camus, Pedro Almodóvar, Carlos Saura y Luis García Berlanga.

No es lo mismo ir a documentar conflictos bélicos, desastres naturales que hacer documentales dentro del ámbito artístico, poseedores de un mensaje de conciliación y convivencia, entre los humanos.

La danza lleva en los genes de sí misma, la belleza intrínseca de los movimientos armonizados y el esfuerzo añadido de la practica continua y cotidiana. El ejercicio intenso de la disciplina, exige la entrega del bailarín en su totalidad, la directora lo sabe y se emplea con denuedo caminando incansable en la búsqueda de la belleza, que ve recompensada en la plástica de las imágenes que recoge.

Apuesta por lo concreto, lo particular aquello que la cámara puede captar en los momentos íntimos, un movimiento suave, un esguince en el cuello, una pirueta fantástica… actuando como la legisladora que levanta acta de la realidad. Y es en esta búsqueda de lo ordinario en lo extraordinario, y a la inversa de lo extraordinario en lo ordinario, donde alcanza el sumun de su belleza plástica y autoral. Ese poner en contacto al espectador con la conciencia de aquello que hay que cuidar para que permanezca y no desaparezca con el paso del tiempo. Trabajo laborioso de entregada meticulosidad. Falta de prejuicios y de espíritu abierto, Arantxa Aguirre plasma sin ningún pudor todas las confidencias que le hacen los integrantes de esta “obra de arte” súbita que es el BBL (Ballet Bejart Lausanne). Concentrando su acción en las coreografías y actuaciones del mismo. Con un despliegue de sensibilidad sonora similar al del movimiento captado.

En el seguimiento que la directora hace del BBL (Ballet Bejart Lausanne) en sus documentales, “El esfuerzo y el ánimo” 2007, “Le Béjart Ballet Lausanne au Palais Garnier” 2010, “Gira por China, BBL” 2013 o “Dancing Beethoven” 2016 iremos viendo la cotidianidad de la tradición del culto a Maurice Bejart, junto a la prolongación en el tiempo de las novedosas coreografías de Gil Roman nuevo director del BBL desde la desaparición de su maestro. La experiencia humana recibida con esmero y dedicación durante toda su vida del nuevo director dan sus frutos a medida que el tiempo pasa, y en ese reencuentro con el arte crea-expande la leyenda y mito de Maurice Bejart.

La solidaridad y fraternidad mostradas hábilmente por Arantxa Aguirre contribuyen a que su documental “Dancing Beethoven” se encuentre cargado de una fuerza emotiva adicional. Este estreno de una nueva producción de la coreografía que Maurice Béjart creó en 1964 sobre la 9ª Sinfonía de Beethoven. Producción gigantesca que involucró al Béjart Ballet de Laussane (BBL), el Ballet de Tokio, y la Orquesta Filarmónica de Israel, dirigida por Zubin Mehta, queda recogida para la posteridad por la autora demostrando la resistencia del arte ante todos los imponderables. La fraternidad de las metáforas contribuye a que amemos el trabajo realizado y deseemos a los demás su visionado. Podría parecer que lo que estamos viendo brota de un inconsciente colectivo que al materializarse en acto real nos convoca a su disfrute y deleite de lo puramente visual y sonoro. Los fondos alternables de color, los movimientos de cámara, el montaje ajeno al raccod, la espontaneidad de los entrevistados -impagable las carcajadas del intelectual japonés- un rasgo de humanidad que toca materia, tantos otros detalles que se van descubriendo en su visionado. El privilegio del uso del espacio intuitivamente, llena de grandeza la realización cinematográfica y carga de fuerza y hermosura toda la obra de Arantxa Aguirre.

Podría parecer que lo que estamos viendo brota de un inconsciente colectivo que al materializarse en acto real nos convoca a su disfrute y deleite de lo puramente visual y sonoro.

Es importante seguir apoyando todos los deseos de la realizadora por haber demostrado su valía artística. Un deseo infatigable que guarda es realizar un trabajo sobre la vida y obra de Benito Pérez Galdós de la que es especialista. Ojalá persista en ello y nos lo acabe regalando a los espectadores.

Charo Garcia Diego

Charo García Diego (Salamanca 1961) es pedagoga, sociologa y psicologa social. Organizadora, coordinadora y difusora en medios de comunicacion de actividades culturales desde 1990 en España. Desde sus inicios universitarios estudia, investiga y escribe criticas de cine. En su curricum consta la organizacion de diversos festivales de cortometrajes y la semana de cine independiente español. Promueve encuentros entre narradores, poetas y musicos. Sus intereses giran en torno a la difusion de culturas transversales, multipluridisciplinares y versatiles que aporten enriquecimiento formativo  a las nuevas generaciones

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