EDUARDO VALLEJO PINTO
Choregrapher & Artistic Director
The dance is a refined manifestation that by means of the movement can or not, alter our senses through its evocation. Few creators cross the line and manage not only to express with technical skill, but to shake without contemplation through the nakedness of sy psykjé.
The dancer and choreographer Eduardo Vallejo Pinto (Mieres, Asturias 1991) in an act of vital surrender, conceives dance as a way of understanding and exercising life. Life, which began with training in classical and contemporary dance in institutions in Europe and the Middle East in which he continued his professional training in various companies as a performer and choreographer.
This unusual and fast journey, hatched in Madrid and today is still in force with the support of Centro Cultural Conde Duque, Centro Coreográfico Canal, Compañía Nacional de Danza, Centro Coreográfico Maria Pages, Ayuntamiento de Madrid, Comunidad de Madrid, INAEM, Teatros del Canal, Teatro del Bosque, Staatsballet Hannover and Staatstheater Festival Hannover and its project Think Big or Gdański Festiwal Tańca.
The idea of continuing to investigate the movement as his own was materialized by creating and producing his own works such as Tell the dust, Indulgence, No time to rage or The holy trinity, under a new reality, that of his own company: OGMIA.
From No time to Rage is when the work of Eduardo Vallejo Pinto, takes a formal and poetic force that translates into an unmistakable style.
Without pretending to be anything else than a manifestation of realism that he interprets through his own decoding of the movement.
In each of his works, there is an arcane pact in which necessity is transformed into survival and movement becomes subordinated to the needs of the soul.
The path itself becomes a method of evaluation analysis, leaving aside reason. Eduardo Vallejo Pinto, decided to undertake this journey and transgress the empirical. It was inevitable that the path of his company OGMIA, would lead him towards that search of the ancestral and alchemical wild place of the being and its root, in which this Celtic concept of wisdom and connection with the earth, is manifested in the reunion with oneself.
Based on anthropological observations and individual research, through which Eduardo Vallejo Pinto was able to find his philosopher’s stone, a thesis of psychology of movement, in which he exposes that the patterns of movement are an intrinsic, personal and non-transferable part.
His process of choreographic and dramaturgical creation leads to different aspects. One more linked to the concept and another part that has as a premise his research of finger print movement, in which the individual is unique; a more intuitive approach that empathizes and analyzes the dancer from a more primary place through his own movements, which are a reflection of his own construct.
From this method of direction arises a way of working that in a first encounter faces the pathos, from the deepest breathing and facial expression, for in second instance, freeing the dancer from this tension, bringing them closer in a soft inertia towards the most technical and translucent investigation.
Eduardo Vallejo Pinto breaks the dominant academicism in dance to portray a divergent society. His recurrent themes are and will continue to be decisive in his career, such as political and social criticism, gender roles, interpersonal relationships and their consequences, or concepts that are attached to specific periods of history.
His pieces are also conceived from an aesthetic point of view, starting from the psychology of color through the lights to provoke neurosensorial reactions that accentuate the dramatic charge and together with a use of the palette of desaturated colors that remains in the scale of neutrals makes him visually something genuine, another sign of his own identity. As a dance goldsmith, the staging is an arduous and meticulous work of conceptualization and execution, the result of an omniscient conception in each piece.
Trying to dissect the most personal part of the author we can glimpse different influences that go from the manga of authors like Masamune Shirow, the graphic novel like Frank Miller, the dirtiest realism of John Fante, through the dystopian literature of Huxley and Orwell or the video game saga Final Fantasy.
Eduardo Vallejo Pinto’s thought rides towards a place that must be appropriated before it absorbs us like the matter that captures radiation without any kind of will. Each piece that is born catapults the individual into a state of inevitable internal struggle, which pushes him to sublimate pain, relentlessly going through his moral dilemmas, redeeming himself in a new unlimited and infinite individual like Motoko Kushanagui in Ghost in the Shell.
All this personal cosmos converges in a choreographic work in which the most contemporary expression beats, questioning and dynamiting the universal values, to be able to defragment and finally meet again with the earthly, the primitive and the pure. That place from which we departed, the fertile land from which we left, to which we return again and again.
Marta Abad Molina
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