COOPERATIVA MAURA MORALES
About the Company
Cuban dancer and choreographer based in Germany, graduated from the Camagüey School of Arts, Cuba. She worked as a solo dancer in the Camagüey Ballet, Teatro de la Danza de Cuba, Odeon Theater in Vienna/Austria, State Theaters of Oldenburg and Darmstadt, Germany, and at the Theater Basel, Switzerland. She currently works as a dancer and independent choreographer and director of the company “COOPERATIVA MAURA MORALES” in Düsseldorf, Germany. Her works have been awarded several on several occasions, such as: 2nd place for choreography at the Stuttgart Solo Competition, Germany 2007; Audience Award for Best solo at Masdanza, Canary Islands, 2008; 1st choreography place at Hannover-Competition in Hannover, Germany, 2009; Audience award at “638 kilo Tanz 2011; Winner of “Kurt-Jooss-Award of Choreography 2013 and of the Jury Prize to the best dance show at Huesca Fair, 2013. In 2014, she obtains the award of Culture for the City of Düsseldorf for her choreographic endeavor and in 2015 the Duri award of Act Festival in Bilbao. Her choreographic work has been invited to national and international festivals.
About the Piece
The myth of Phaedra, as Maura Morales interprets it, drawn from Euripides and Seneca, is a story of double attraction. On one hand, Phaedra feels trapped by the gravitational field of Theseus, her husband, from whom she tries to escape. On the other hand, Phaedra is attracted to Hippolytus, her stepson, who rejects her. But the drama of the mature woman fatally attracted to youth, is attached to other senses. In her interpretation of the myth, Maura Morales did not want to lose the tension between the ascendant and the descendent, between the transcendent and the vital, between the subterranean and the aerial, between the past and the future. From this Phaedra, caught in this double tension, arises not only the central concept of the choreography, but also the choice of the interpreters. The underground gravity of Theseus, is interpreted by Chang Ik Oh, dancer formed in the butoh dance, a dance firmly grounded to the floor.
Hippolyta’s weightlessness is played by Yotam Peled, a dancer trained in aerial acrobatics. And Phaedra, that tortured character, victim of herself, is interpreted by the own Maura Morales with her characteristic style, in which the body seems to move with spasmodic forms, oblivious to all will.
Somehow, the music and those who play it, come to occupy the place that, in the classic tragedy, occupy the gods. Sandra Carrasco, at the top of the swing, occupies in many aspects, the place of Aphrodite, Artemis, and Persephone, three of the goddesses involved in this triangular love story of purity and death. Michio Woirgardt, as composer and performer, somehow becomes the god capable of moving the hidden threads of this story.