{"id":13346,"date":"2022-04-25T11:13:00","date_gmt":"2022-04-25T10:13:00","guid":{"rendered":"https:\/\/blogs.cervantes.es\/dublin\/?p=13346"},"modified":"2022-05-11T10:29:29","modified_gmt":"2022-05-11T09:29:29","slug":"el-conservatorio-de-danza-the-dance-conservatory","status":"publish","type":"post","link":"https:\/\/blogs.cervantes.es\/dublin\/el-conservatorio-de-danza-the-dance-conservatory\/","title":{"rendered":"El conservatorio de danza | The Dance Conservatory"},"content":{"rendered":"\n

Con motivo del D\u00eda Internacional de la Danza, Laura Bru\u00f1a<\/a> (directora de ensayos de Ballet Ireland) comparte con nosotros un retazo de su infancia y sus inicios en el mundo de la danza. El 29 de abril, moderar\u00e1 la mesa redonda Trascendiendo fronteras<\/a>, organizada por el Instituto Cervantes de Dubl\u00edn<\/a>, junto a Ballet Ireland<\/a> y Dance Ireland<\/a>.<\/p>\n\n\n\n

Cuando era peque\u00f1a ten\u00eda que salir corriendo del colegio para llegar puntual a mis clases de ballet. Tuve la suerte de estudiar en un conservatorio de danza, lugar que mis compa\u00f1eros y compa\u00f1eras del colegio cre\u00edan que era para conservar o hacer experimentos. A m\u00ed me hac\u00eda mucha gracia que creyeran eso cuando, en realidad, lo que hac\u00eda era formarme en una disciplina art\u00edstica que, por desgracia, todav\u00eda es bastante desconocida para mucha gente: la danza.<\/p>\n\n\n\n\n\n\n\n

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Laura Bru\u00f1a Rubio. Foto: Mario Gaglione<\/figcaption><\/figure><\/div>\n\n\n\n

Un conservatorio (instituci\u00f3n p\u00fablica del sector educativo espa\u00f1ol) es un centro de Ense\u00f1anza de r\u00e9gimen especial donde se ofrece una educaci\u00f3n reglada oficial no obligatoria aunque, para m\u00ed \u2014con ocho a\u00f1os\u2014, era un lugar amable donde pasaba las tardes mientras me divert\u00eda al ritmo de la m\u00fasica; se puede decir que all\u00ed aprend\u00ed, sin darme cuenta, lo que hoy en d\u00eda es mi profesi\u00f3n. A medida que iban pasando los a\u00f1os, aquel sentimiento de diversi\u00f3n se fue transformando en compromiso y disciplina, pero siempre con ese trasfondo l\u00fadico cada vez que alcanzaba una meta t\u00e9cnica.<\/p>\n\n\n\n

La mayor\u00eda de las veces, cuando eres estudiante, la prioridad es brillar t\u00e9cnicamente (aunque la t\u00e9cnica acad\u00e9mica tambi\u00e9n tiene una parte art\u00edstica). El lado m\u00e1s art\u00edstico llega en la preparaci\u00f3n para subirte al escenario con el prop\u00f3sito de contar una historia, representar un concepto o sentimiento. En mis a\u00f1os de conservatorio \u201cpis\u00e9 mucho escenario\u201d y el escenario curte. Desde muy peque\u00f1a aprend\u00ed que, con tu propio cuerpo y sin necesidad de la voz, puedes contar las historias que quieras y vivir como tuyas las vidas de muchos personajes. Eso fue lo que me enganch\u00f3.<\/p>\n\n\n\n

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Imagen: Marta Villarte\/Instituto Cervantes Dubl\u00edn<\/figcaption><\/figure><\/div>\n\n\n\n

La adolescencia, en el instituto y el conservatorio, no fue un camino de rosas. En ambos esperan lo mejor de uno. Por suerte, mis compa\u00f1eros y yo, compart\u00edamos aula en ambos lugares: ballet por las ma\u00f1anas y bachillerato por las tardes. All\u00ed todos sab\u00edamos qu\u00e9 era un conservatorio, ya que era parte de nuestro d\u00eda a d\u00eda. Los pasillos del instituto (por cierto, de nombre Cervantes) se llenaban de grand jet\u00e9s, pirouettes <\/em>y port\u00e9s<\/em> en cada descanso, haci\u00e9ndolo todo m\u00e1s llevadero y divertido. Supongo que en ese momento me di cuenta de que hab\u00eda dejado de ser aquella ni\u00f1a peque\u00f1a que admiraba a las chicas de los cursos superiores, a las que llam\u00e1bamos \u201clas mayores\u201d, y me hab\u00eda convertido en una de ellas. Entonces llegaron los concursos, los cursos en el extranjero y las j\u00f3venes compa\u00f1\u00edas de verano. Todo me parec\u00eda poco y el conservatorio se hac\u00eda cada vez m\u00e1s peque\u00f1o.<\/p>\n\n\n\n

No s\u00e9 si fui yo quien decidi\u00f3 hacer de la danza mi profesi\u00f3n, o si fue la danza la que me eligi\u00f3 a m\u00ed. En cualquier caso, la danza es un lugar donde me siento c\u00f3moda \u2014a pesar de su constante evoluci\u00f3n e inestabilidad\u2014 y es una disciplina con la que he descubierto que puedes comunicarte de manera universal porque no tiene l\u00edmites. La transici\u00f3n de estudiante de danza a bailarina profesional, ya si eso, la dejamos para otra ocasi\u00f3n.<\/p>\n\n\n\n

Texto de Laura Bru\u00f1a Rubio<\/em><\/p>\n\n\n\n

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Image: Marta Villarte\/Instituto Cervantes, Dublin<\/figcaption><\/figure><\/div>\n\n\n\n

On the occasion of the International Dance Day, Laura Bru\u00f1a<\/a> (Rehearsal Director, Ballet Ireland) shares with us her childhood memories and how she started to dance. Laura will chair the round table discussion Transcending Borders<\/a>, on April 29, at Dance House; an initiative of the Instituto Cervantes Dublin<\/a>, together with Ballet Ireland<\/a> and Dance Ireland<\/a>.<\/p>\n\n\n\n

When I was a child, I had to rush from school to get to my ballet classes on time. I was lucky enough to study in a dance conservatory, a place that my classmates at school believed was to keep or experiment. This was very funny for me as, in reality, what I was doing there was being trained in an artistic discipline that, unfortunately, is still quite unknown to many people: dance.<\/p>\n\n\n\n

A conservatory – a public institution in the Spanish education – is a special education centre that delivers non-compulsory official formal education. However, for me – at eight years old -, it was a friendly place where I spent the afternoons having fun to the rhythm of the music. I could say there is where I learnt, without realising it, what it is today my profession.  As the years went by, that feeling of fun turned into commitment and discipline, but always with that playful undertone every time I achieved a technical goal.<\/p>\n\n\n\n

As a student, most of the time the priority is to stand out for the technique skills (although academic technique also has an artistic side). The most artistic side emerges when you get ready to step onto the stage with the purpose of telling a story, representing a concept or feeling. During my years at the conservatory, “I was on stage a lot” and the stage does harden you. From a very early age I learned that, with your own body and no need for a voice, you can tell the stories you want and live the lives of many characters as your own. That\u2019s what got me hooked.<\/p>\n\n\n\n

My adolescence, in high-school and at the conservatory, was no bed of roses. In both they expected the best of myself. Luckily, my classmates and I shared a classroom in both places: ballet in the mornings and high-school in the afternoons. There we all knew what a conservatory was, since it was part of our daily life. The high-school corridors (named Cervantes, by the way) were filled with grand jet\u00e9s<\/em>, pirouettes<\/em> and port\u00e9s<\/em> during the breaks, making everything easier and fun. I guess at that moment I realized that I was no longer the little girl who admired the girls in the upper classes – whom we called “the older ones” – and I had become one of them. Then came the competitions, the trainings abroad and the young summer companies. Everything seemed small to me and the conservatory became smaller and smaller.<\/p>\n\n\n\n

I don’t know whether I chose dance as a profession or it was dance that chose me. In any case, dance is a place where I feel comfortable – despite its constant evolution and instability – and I have discovered that it allows me to communicate in a universal way because it has no limits. The transition from a dance student to a professional dancer\u2026 well, we will leave it for another occasion.<\/p>\n\n\n\n

Text by Laura Bru\u00f1a Rubio. Translation: Lola Rodr\u00edguez<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Con motivo del D\u00eda Internacional de la Danza, Laura Bru\u00f1a (directora de ensayos de Ballet Ireland) comparte con nosotros un retazo de su infancia y sus inicios en el mundo de la danza. El 29 de abril, moderar\u00e1 la mesa redonda Trascendiendo fronteras, organizada por el Instituto Cervantes de Dubl\u00edn, junto a Ballet Ireland y […]<\/p>\n","protected":false},"author":323,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1505],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/posts\/13346"}],"collection":[{"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/users\/323"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/comments?post=13346"}],"version-history":[{"count":2,"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/posts\/13346\/revisions"}],"predecessor-version":[{"id":13361,"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/posts\/13346\/revisions\/13361"}],"wp:attachment":[{"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/media?parent=13346"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/categories?post=13346"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.cervantes.es\/dublin\/wp-json\/wp\/v2\/tags?post=13346"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}