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"Tres Tristes 2.0," by Kirenia Danza, premieres in La Coruña.

It will be this Thursday, September 23, at 9:00 PM at the Ágora Center in the city of La Coruña. Tickets will be on sale one hour before at the venue's box office.

"Tres Tristes 2.0," by the Kirenia Danza company, premieres this Thursday, September 23, at 9:00 PM at the Ágora Center in La Coruña. This project, one of the co-productions of the Centro Coreográfico Galego (CCG) this year, tests, according to the company, "the methodology of repertoire recovery as a viable alternative for the contemporary dance sector in a context of health and economic crisis, especially impacting dance, making the distribution of new creation projects difficult due to the overlap with rescheduled seasons affected by the pandemic."

Through the Movement Archaeology, Kirenia Danza recovers a repertoire piece from one of the most recognized and important companies in Cuba, Danza-Teatro Retazos. "Tres Tristes Tres" is the original piece that inspires this new version. It was created as part of the Habana Vieja Ciudad en Movimiento Festival by choreographer Miguel Azcue along with Kirenia Martínez, who was starting her career as a performer within that company.

The desire and circumstances in which this current "Tres Tristes 2.0" is created connect and coincide to some extent, according to Kirenia Danza, "with the particular needs in which the original version was created. Creating a piece as a pretext for the reunion of a choreographer and a dancer after 20 years, a version 2.0."


"Tres Tristes 2.0" is a piece that works with the repertoire of the Cuban company Danza Teatro Retazos, selecting old materials from pieces like "La casa de María," "Mujeres," "Rosas y Herencias," "Peces en las manos," and "Tres tristes tres." The reason for the recovery is to show a repertoire alchemy of the own tradition that is distant, almost forgotten by the dancers who premiered the pieces two decades ago.

"Tres Tristes 2.0" is also a reflection on universal themes such as loneliness, encounter, belonging, absurdity, beauty, the grotesque, mystery, and poetry. Memories that opened a silent and textless agreement; and about them, we wonder:

What happens when we forget a choreography that was not documented on a visual support?

How can a dancer pick up the choreographic testimony of others before her?

How do we remember those old movements?

What was the poetic mechanics of a lost movement?

How can we recover lost movements?


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