Compañía Antonio Ruz

Direction / choreography: Antonio Ruz
Dance /choreography: Melania Olcina, Valeriano Paños, Rafael Estévez, Lucía Bernardo, Manuel Martín and Antonio Ruz
Music: Artomático
Light design: Olga García
Set: Daniela Presta
Costumes: Antonio Ruz
Costume assistant: Jorge Olmedo
Choreography assistant: Sara Peinado
Photo: Pedro Arnay, Rinaldo Sata, Ainara Nieves.
Make up design: Alberto Estéban
Duration: 1h05
Production: Compañía Antonio Ruz
Co-production: Comunidad de Madrid, Festival de Otoño en primavera and Sasha Waltz & Guests Berlin

With the support of Centro de Danza Canal, Teatro Buero Vallejo of Alcorcón and Embassy of Spain (Berlín)

Compared to other senses, the information recieved via sight represents 50% of the perception of our reality. Said perception is always relative, and ever changing. Looking as an expression and source of movement. The eye begins, thus, to cooperate with other senses; we begin to see through our skin; to caress the inner space that fills our ears; sound, through echoes sculpts volume; and while hands measure weight and temperature of bodies, bare feet quanitfy gravity, sound out a beat and trail the floor. Out of ambiguity and contrast, light and darkness become inspirational axes, creating a specific body language out of the entire piece. A surreal, fragile and everyday view. Seeing is not only concerned with our surroundings but also, with our intimacy. By transforming inner images into physical actions, our inner world becomes, due to the action of self portrayal, an imprint of a collective memory. With this artistic experience, fantasy, reflection or recomposition become an authentic path to knowledge and analysis of reality.

Madrid Première: Festival de Otoño en Primavera 2012, Teatros del Canal, Sala Verde. Berlín Première: Sophiensaele, Festsaal. Performed in Córdoba (Teatro Góngora), Athens (Athens Festival), Gijón (Teatro de la Laboral) and San Sebastián (Gazteszena). 


Susy Q, Dance Magazine

 “What remains unseen”

Omar Khan

 Despite a life dedicated to dance, the young Cordoban choreographer and dancer Antonio Ruz’s forage into creation has been brief and recent, following various stints in national and international groups. He has choreographic instinct and a stage vision, and has an affinity for converting the unsuspected into movement. No Drama, his first venture, was driven by the freedom found in the absurd, revealing sheer nerve, a sharp sense of humour and, above all, an accurate sense of the theatrical. Ojo (Eye), however, as a second piece, is far more ambitious. It has featured in both the Festival de Otoño en Primavera de Madrid and Berlin’s Sasha Waltz & Guests, conjuring up a refreshed inquisitiveness. They certainly don’t seem to be even distant cousins. The relaxed, theatrical nature of the prior dissipates completely, giving way to a greater focus on dance, composition, even the ritual and reaching new levels on the stage. Ambience takes centre stage, as a perennial mist hangs over it, coupled with an ingenious dimness, which, far from being an obstacle, becomes suggestive, especially when considering the vision of playful interaction between the seen and the unseen as a conceptual axis. After all, there is no God without the devil, nor light without darkness. Our eyes slowly slowly begin to adapt, unveiling a secret chain of images, which fall like sensual rain that appeals to our sight, indeed, but also to our ear, to all our senses, until we are completely taken-in. So much so, that when light comes into being towards the end and we can carefully appreciate Ruz demanding and calculated dance, there is a sense of rejection. References are abundant. They range from the cloaked Cyclops-like Vejer women to shout outs to the surreal and science fiction, to horrifying expressionist visions or those sudden bursts of light that are reminiscent of Saramago or even Steven Spielberg. Dance is that which brings it all together yet it is spread across six dissimilar bodies which fight against the training that has informed them (flamenco, hip hop, contemporary) yet they know how to shine, committed to a piece which puts intellect to rest, awaking the senses with a sense of urgency.