Olga Pericet

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Olga Pericet

Olga Ramos Pericet (* 1975 in Córdoba ), better known as Olga Pericet , is a Spanish dancer and choreographer of Spanish dance and flamenco .

Artistic career

The beginnings

Olga Pericet studied Spanish dance and flamenco at the Escuela Superior de Arte Dramático y Danza in Córdoba. She then took lessons from Matilde Coral , Manolo Marín , Maica Moyano , Anunciación la Toná , José Granero , Cristóbal Reyes and Milagros Mengíbar .

In 1995 she made her first appearances in the Madrid tablaos Casa Patas and Las Carboneras . She later danced in El Triana in Mexico and in Parque España in Japan . In 1998 she joined the company of Rafael Amargo one. There she reached the rank of prima ballerina and danced as such:

In 2002 she took part in the Havana Dance Festival as an invited artist . In 2003 she danced in Rafaela Carrasco's production La múcica del cuerpo and in Romeo y Julieta with the Nuevo Ballet Español . That year she also took part in the ballet production A tres bandas at the Millennium Festival in Madrid and Barcelona .

Dancer, choreographer, ensemble manager

Together with Manuel Liñán , Marco Flores and Daniel Doña , she founded the company ESS3 Movimiento in 2003 . Her first self-choreography was Un millón de emociones . The following year they performed Olga Pericet's choreography Suite en cámara negra . The piece won first prize for choreography and first prize for music at the XIII Certamen de Coreografía de Danza Española y Flamenco in Madrid. The music was composed by José Luis Montón and Fernando de la Rua .

In addition to working together at ESS3 Movimiento , those involved repeatedly took the freedom to other projects and appearances. In 2004, Olga Pericet staged her choreography Bolero, seis cartas de amor y desamor in Madrid . In the same year she appeared again with the Nuevo Ballet Español ; this time in the play Tierra .

In 2005, ESS3 Movimiento performed in the Distrito Danza cycle in Madrid City Hall. They changed their name to Compañia Manuel Liñán & Olga Pericet . Under this new name they staged Cámara negra in Segovia .

Separately from the company, she made appearances in:

  • As an invited artist in Miguel Angél Berna's company in the pieces Las tres rosas , A pedir de boca and Estación seca .
  • At the Flamenco Festival in Leganés .
  • At the Festival Internacional de Música y Danza in Granada .

In 2006 Manuel Liñán and Olga Pericet created the final version of Cámara negra . Marco Flores and Daniel Doña contributed to it. They performed the piece at the Madrid de Danza Festival . The dance took place on an empty, black stage - everything concentrated on the different choreographies: a modern version of the very traditional caña , fandangos , a zapateado and finally a petenera choreographed by Daniel Doña . They then performed the piece at the Festival de Música y Danza in Granada and went on tour with him to Italy.

The piece was enthusiastically received by the critics. Roger Salas wrote in El País :

«El baile de Manuel Liñán es cerebral e intenso, con una amplia gama en lo expresivo, y lo mismo podría decirse en su campo de Olga Pericet, una mujer menuda y tenaz que en el escenario se crece con una danza que debe calificarse de excelente y excepcional. »

"Manuel Liñán's dance is thoughtful and intense, with a wide range of expression, and the same goes for Olga Pericet, a small and firm woman who grows on stage with her dance, which is characterized by excellence and exceptionality."

Together with Marco Flores and Daniel Doña, she staged Chanta la mui , a three-part play, in Madrid in 2006 . All three parts combined classical flamenco with contemporary dance, but with the three personalities each having their own conception.

She had other appearances this year:

In 2007, Olga Pericet, Manuel Liñán and Marco Flores performed En clave at the USA Festival in New York . They then staged the play in Jerez de la Frontera and in Israel . Together with Daniel Doña they performed Cámara negra again at the Festival Internacional de Música y Danza in Granada . The four then took part in the Seville Gala , which took place in Australia, Hong Kong and Beijing . She danced with Manuel Liñán and Marco Flores at the Gala Bienal de Sevilla in London. Together with Marco Flores and Daniel Doña she brought Chanta la mui to the stage in Valencia and Beirut . She also worked with Manuel Liñán on Teresa Nieto's production De cabeza .

In 2008 she created, again together with Marco Flores and Daniel Doña, Chanta la mui II. El complot . It was performed in the Sala Pradillo in Madrid. The piece offers a cross-section through the dance styles of Spain: In the first part the baroque form with slippers and castanets , in the second part followed by the escuela bolera and the flamenco. The third part is initially dedicated to the lyrical song form, performed by Mercedes Cortés , before Olga Pericet and the two men once again bring flamenco to the stage with their dance. The fourth and last part leaves the stylistic framework of Spain and is dedicated to Hispano-American forms such as the milonga and the Argentine tango .

The three created another work for the Seville Biennale in 2008: En sus trece . At the same time, they also gave themselves this name as a group. In the piece, solo performances in the classic flamenco style combined with more modern group choreographies. Daniel Doña also contributed again with his choreographies, as did Tacha González and Ana Romero .

The piece De Cabeza from 2009 is a choreographic collaboration. It confronts modern dance, represented by Jesús Caramés , Vanessa Medina and Teresa Nieto, with flamenco, represented by Daniel Doña, Manuel Liñán and Olga Pericet. The piece was awarded the Premio Max for the best choreography.

More recent past from 2010

For the recent past, the following productions and performances are worth mentioning:

  • For the Jerez Festival 2011 Rosa, metal y ceniza . This work also combines traditional flamenco with modern dance. In the latter, Olga Pericet, unusual for a flamenco dancer, performed barefoot. According to the Kiritker Manuel Martín Martín, she designed allegorical figures in a dance dialogue with Jesús Caramés, which deal with the relationship between fiction and reality. Fermín Lobatón saw the piece as a choreographic interpretation of Ovid's matamorphoses . The piece has been performed several times, for example in Seville in 2012 and at the Flamenco Festival in Esch an der Alzette in Luxembourg in 2014 .
  • To the Festival of Jerez 2014 Pisadas . As an invited artist, Juan Carlos Lérida took on the male dance part. The piece was met with ambivalent criticism. Fermín Lobatón wrote in El País that at one point Olga's art of dancing had carried the audience away to ovations that lasted for minutes. After a change of topic, however, the staging failed. In the later part, despite the “correct” dance by Olga Pericet, the performance lacked brilliance and understanding. Manuel Martín Martín wrote in El Mundo that the idea of ​​the piece was not at the level of Olga Pericet's dance qualities.
  • In 2015 she performed Flamenco sin título in New York City .
  • 2017 at the Festival des Tablao Corral de la Morería in Madrid.
  • 2017 La espina que quiso ser flor o la flor que soñó con ser bailaora at the Festival of Jerez de la Frontera. The production was enthusiastically received by critics. In El País, Fermín Lobatón praised the theatrics and poetry, the coherent overall concept and the stylish musicality, both in rhythm and in tone, adapted to the dancer. The piece was awarded the festival's critics' prize. Olga Pericet performed it again on various occasions, for example at the Flamenco festivals in Amsterdam and London in 2019. A performance is planned for January 2020 at the Théâtre Chaillot in Paris .
  • She had another appearance in New York in 2017 at the local Flamenco Festival.
  • In March 2018, another appearance in the Corral de la Morería , this time for its 50th anniversary.
  • In Germany she could be seen in the same year at the Flamenco Festival in Tanzhaus NRW in Düsseldorf .
  • In September 2018 she performed at the Seville Biennale.
  • In autumn 2019 in the Mercat de las Flors in Barcelona Un cuerpo infinito , a tribute to Carmen Amaya . Carmen del Val once again praised her excellent dancing qualities in El País, but wrote about the piece that it was chaotic and incomprehensible, mixing too many concepts and ideas in 90 long minutes and lacking a clear line.

reception

José Luis Navarro García wrote about Olga Pericet:

«Pericet domina como pocas las entresijos de la danza española y conoce la danza contemporánea. Hace un baile rico en formas y de una delicadeza admirable. It una bailaora dotada de una vitalidad y energía poco habituales, que tiene una gran sensibilidad y una desbordante creatividad. »

“Like few others, Pericet has mastered the subtleties of Spanish dance and understands contemporary dance. Her dance is rich in form and of admirable delicacy. As a dancer she is gifted with extraordinary vitality and energy, with great sensitivity and overflowing creativity. "

The critic Carmen del Val gave a more differentiated judgment:

«Olga Pericet es una excelente bailarina, elegant y sutil, con un vibrante zapateado, que descubrimos hace años en los montajes de Rafael Amargo, Poeta en Nueva Yok (sic) y El Amor Brujo . (...)
Pericet es una convincente bailaora que trenza clasicismo y contemporaneidad con arte en secuencias cortas de baile donde maneja con soltura las castañuelas, pero no tiene la capacidad suficiente de expresar el flamenco en montajes de gran formato con una esto contemporán con otros artistas como Israel Galván, María Pagés o Rocío Molina. »

“Olga Pericet is an excellent dancer, elegant and subtle, with a rousing zapateado , which we discovered years ago in Rafael Amargo's creations Poeta en Nueva York and El Amor Brujo . (...)
Pericet convinces as a flamenco dancer by artfully combining classical and contemporary style in short dance sequences in which she uses the castanets with ease. But she is not able to express Flamenco in large-format montages with a contemporary aesthetic, as is the case with other artists such as Israel Galván , María Pagés or Rocío Molina . "

Awards

  • 2004 Prize for the best music and the best choreography at the Certamen de Coreografía de Danza Española y Flamenco .
  • 2006 Premio Pilar López of the City of Madrid as the best dancer of 2005.
  • 2007 Premio Pilar López for the best petenera at the National Flamenco Competition of Córdoba.
  • 2009 Premio Max for the best choreography for the piece De Cabeza .
  • 2011 Premio a la Artista Revelación at the Festival of Jerez de la Frontera.
  • 2012 Flamenco Hoy Critic Award for Best Dancer.
  • 2014 El ojo crítico award from Radio Nacional de España .
  • 2015 Premio Max for the best dancer.
  • 2016 Premio ACE de Teatro of the Association of Latin Entertainment Critics of New York .
  • 2017 Critique Award at the Jerez Festival.
  • 2018 Premio Nacional de Danza .

Web links

  • Olga Pericet. In: website of the artist. Retrieved November 4, 2019 (Spanish).

References and comments

  1. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . Volume V. Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-88-2 , p. 198 .
  2. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 199 .
  3. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 200 .
  4. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 201 .
  5. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 202 .
  6. ↑ José Ramón Díaz Sande: Pureza flamenca para no entendidos. In: Madrid Teatro. Retrieved November 4, 2019 (Spanish).
  7. ↑ Roger Salas: Calidades y belleza . In: El País . Madrid April 1, 2006 (Spanish, elpais.com [accessed November 4, 2019]).
  8. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 203 .
  9. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 204 .
  10. ↑ Anabel Poveda: Marco Flores, Olga Pericet y Daniel Doña. Chanta la mui II Complot. In: Danza.es. Retrieved November 5, 2019 (Spanish).
  11. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 205 .
  12. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 207 .
  13. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 208 .
  14. ^ Sergio Mellado: Vanguardia y zapateo con Teresa Nieto . In: El País . Madrid May 23, 2009 (Spanish, elpais.com [accessed November 12, 2019]).
  15. ^ XII edición 2009. In: Premios Max de las artes escenicas. fundación sgae, accessed November 12, 2019 (Spanish).
  16. ↑ Manuel Martín Martín: Jerez se convierte en capital mundial del baile . In: El Mundo . February 25, 2011 (Spanish, elmundo.es [accessed November 12, 2019]).
  17. ↑ a b Manuel Martín Martín: Alegoría de la realidad subyacente . In: El Mundo . September 2, 2012 (Spanish, elmundo.es [accessed November 12, 2019]).
  18. ^ Fermín Lobatón: Cuando el baile se impone . In: El País . Madrid March 9, 2011 (Spanish, elpais.com [accessed November 12, 2019]).
  19. ^ Rosa, Metal y Ceniza. In: Kulturfabrik Esch. Retrieved November 12, 2019 .
  20. ^ Fermín Lobatón: Un baile redentor . In: El País . Madrid February 28, 2014 (Spanish, elpais.com [accessed November 6, 2019]).
  21. ↑ Manuel Martín Martín: Tiempo de desconcierto con Pericet . In: El Mundo . February 28, 2014 (Spanish, elmundo.es [accessed November 6, 2019]).
  22. ↑ Gia Kourlas: Review: In 'Olga Pericet: Flamenco Untitled,' the Dancer Maintains Control . In: The New York Times . November 8, 2015 (English, nytimes.com [accessed November 13, 2019]).
  23. ↑ José Manuel Gómez: Ochenta estrellas en el festival del Corral de la Morería . In: El Mundo . April 5, 2017 (Spanish, elmundo.es [accessed November 15, 2019]).
  24. ↑ The thorn that wanted to be a flower or the flower that dreamed of being a dancer.
  25. ^ Fermín Lobatón: Una flor en movimiento . In: El País . Madrid March 1, 2017 (Spanish, elpais.com [accessed November 12, 2019]).
  26. ↑ Olga Pericet obtiene the Premio de la Crítica del Festival de Jerez 2017. In: Cordobaflamenca.com. March 31, 2017, Retrieved November 12, 2019 (Spanish).
  27. ↑ Olga Pericet - La espina que quiso ser flor o la flor que soñó con ser bailaora. In: Flamenco Biënnale Nederland. Retrieved November 12, 2019 .
  28. ^ Amalia Bulnes: El mayor escaparate jondo fuera de España . In: El País . Madrid June 11, 2019 (Spanish, elpais.com [accessed November 7, 2019]).
  29. ↑ La Espina que quiso ser flor ... In: Website of the Théâtre Chaillot. April 10, 2019, accessed November 12, 2019 (French).
  30. ^ José Manuel Gómez: Los lunares, divina Pericet . In: El Mundo . March 14, 2017 (Spanish, elmundo.es [accessed November 13, 2019]).
  31. ↑ Cristina Marinero: Apoteosis del arte jondo en el Corral de la Morería . In: El Mundo . March 28, 2018 (Spanish, elmundo.es [accessed November 8, 2019]).
  32. ^ Christian Oscar Gazsi Laki: Flamenco Festival: Pure Energy . In: Westdeutsche Zeitung . April 3, 2018 ( wz.de [accessed November 5, 2019]).
  33. ↑ Manuel Martín Martín: La Bienal, el Empíreo del flamenco . In: El Mundo . September 5, 2018 (Spanish, elmundo.es [accessed November 7, 2019]).
  34. ↑ Marta Cervera: Olga Pericet evoca a Carmen Amaya en el Mercat de les Flors. In: El Periódico. October 31, 2019, accessed November 6, 2019 (Spanish).
  35. ↑ a b Carmen del Val: Sombras y luces en la Carmen Amaya de Olga Pericet . In: El País . Madrid November 3, 2019 (Spanish, elpais.com [accessed November 6, 2019]).
  36. ↑ a b c Olga Pericet. In: Revista DeFlamenco.com. August 3, 2012, Retrieved November 12, 2019 (Spanish).
  37. ↑ Prize for the outstanding young artist
  38. ↑ The critical eye
  39. ↑ a b c Olga Pericet. In: Danza.es. Retrieved November 12, 2019 (Spanish).
  40. ↑ Se anunciaron ganadores los Premios ACE 2016 de Teatro. In: Premios ACE - Latin ACE Awards. January 13, 2016, accessed November 8, 2019 (Spanish).
  41. ^ Antonio Ruz y Olga Pericet ganan los Premios Nacionales de Danza . In: El País . Madrid October 9, 2018 (Spanish, elpais.com [accessed November 5, 2019]).
personal data
SURNAME Pericet, Olga
ALTERNATIVE NAMES Ramos Pericet, Olga (full name)
BRIEF DESCRIPTION Spanish dancer and choreographer
DATE OF BIRTH 1975
PLACE OF BIRTH Cordoba