For many artists, Paris has been an inspirational topos that has managed to create a magnetic aura over time, giving creators the energy they need for the most nonconformist productions. Somewhat, the short choreographic moments captured by director Diego Funes in ‘RENDEZ-VOUS‘ translate through its subtext this charm of the famous capital into a kind of kinetic impressive essay about the joy of sharing all this aesthetic balance through the movements. Opting for a sort of fragmentation strategy that metaphorically depicts several meanings adjacent to the term “rendez-vous”, the creator of this project succinctly explores harmonious musical and gestural passages that cover a wide range of emotions between friendship and erotic attraction. Not accidentally, the music of Astor Piazzola is the central principle that ensures the homogeneity of the fluid movements of dancers who seem to express in an elusive and expressive language the passion of the capital of Romanticism. Thus, the movements of the “characters” represent only one element of this experiment, which, by the way of cutting out architectural details or famous monuments, aims to present an aesthetic symbiosis between the choreographic intention and the classical, glowing beauty of the urban space.
Designed somewhat like a spontaneous orchestrated exercise in front of admiring passers-by, where architectural or landscape details are not just a simple scenery but liaisons that relativize the distance between the performer and the viewer, Diego Funes’ project adopts the principles of a choreographic happening whose message resides in the free delight of enjoying the beauty of the world we live in. The correspondence between the apparent classicism of architectural space or piano music inspired by tango structures, and the contemporaneity of the dancers’ clothing or posture, become within this project a central engine that privileges the explosion of an optimistic inner force. Wishing to synthesize in a few minutes the multitude of relational typologies existing among individuals, the creator also captures individual gestural portraits, duos in synchronic or antagonistic connections, as well as collective “tableaux” determined by a certain arbitrariness of the gestures representing every individuality. Beyond the purely choreographic dimension of this project, its cinematic materialization adopts the principles of a music video that unifies moving frames, full or medium shots captured in slow motion, which enhances the suggestion of the wide, round gestures of the dancers who incarnate, through the masculine-feminine dichotomy, various hypotheses of the modern couple.
‘RENDEZ-VOUS’ is an optimistic cinematic-choreographic experiment about the body and the architectural harmony of a city for which passion, friendship and love become an engine of infinite creativity that removes interpersonal or intercultural distances.
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