“Beckett helped me create this dance, because his characters, their bodies, are impeded, diminished, by something. This allowed me to work on a dance of bodies prevented from something.” It is in this way that Maguy Marin reminds Expresso of the creation of that iconic piece that is “May B”, premiered in 1981, which he has returned to several times and which this week is presented again in Portugal, this time at the Vila Flor Cultural Center, in Guimaraes.
Maguy Marin, the biggest name in French dance, was 30 years old in 1981 and was making his first choreographic experiments. The issues were the same as today, starting with the difficulty in accepting “the aesthetics of dancers and dance, of a young, sporty, ‘beautiful’ body”. “May B” was part of an artistic and personal program of aesthetic, poetic and political contestation, “to make dance more accessible to other bodies, because dance is a universal expression, for all human beings. We’ve made a lot of progress, it seems to me, but we still have this same problem,” he says. The study of dance at Maurice Béjart’s school was important in the formation of the creator, who understands the artistic contents with which she works — dance, singing, theater, text, rhythm, music — inseparable, in the image of popular arts. of cultures from Africa, Asia or South America, and unlike the western trend, segmented and stratified by artistic genres. There he learned Indian dance, martial arts, flamenco. It was all mixed up. It is this miscellany that we also find in “May B”.
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