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Argentine Theatrical Dance History

Fontela Neglia  
On October, 10, 1971, a bimotored Cesna plunged down into the waters of Plata River. The accident took ten victims, all of them members of the ballet company of the Colón Theater.
The main dancers, Norma Fontenla and José Neglia died that night, together with the other dancers, Rubén Atanga, Héctor Zambrana, Margarita Fernández, Marta Raspanti, Carlos Santamarina, Sara Bockowsky and Carlos Schiafino. They were flying toward the city of Trelew, where they would perform in the Spanish Theater.

The news shocked especially the artistic community and logically so, since the tragic accident had cut off the life of two of the best Argentine dancers, leaving many brilliant careers incomplete. That night, a strange turn of fate decided that Argentine dance should be affected by a loss which was undoubtedly one of its most important ones in its history. JORGE DONN
Regarded as one of the most remarkable figures of contemporary dance, this Argentine dancer was at the same time the performer of and inspiration for Maurice Béjart's creations. He started his training in Buenos Aires, in the School of the Colón Theater. As of 1963, he took part in the 20th Century Ballet. His career marked the different aspects of Maurice Béjart's choreographic art. On the other hand, he performed the most remarkable choreographs and was the partner of the great Russian "étoiles": Maya Plissetskaya and Natalia Makarovna.
 
By the time when, Antonia Mercé staged her Amor Brujo for the Colón, the repertoire had included works like The Sylphs, Carnival, The Ghost of the Rose, The Fire Bird, Thamar, The Consecration of Spring, Lifar's Prometheus, among other pieces. Margarita Wallmann* was appointed as choreographic director of the Ballet from late 1930s till 1940s. Trained in the school of Mary Wigmann, Wallmann developed the ballet of grand show, with the particularly remarkable Honegger's oratorio Jeanne d'Arc in the pyre.
Balanchine* worked for our Ballet in 1942. Monte Carlo Ballets with Massine and the Original Ballet Russe of Colonel Basil* also performed in the early 1940.
 
El lago de los Cisnes
  
La Sylphide.
The Original Ballet merged with the Colón Ballet in 1943, under the direction of Basil. Several of his figures settled in America, like: Grigorieva, Irman, Verchichina, Leskova, etc. Argentina received the art of the Sakharoff, The Dance Poets, agents of new aesthetics, and the Joos Ballets of Essen.
 
Agogia_Neglia
Left: Esmeralda Agoglia. Right: José Neglia y Gustavo Mallojoli.
 
During the 1950s, our dancers Ruanova, Ferri, Ferrari, Agoglia, Lommi, Truyol, Neglia, Adamowa, Borovska and Moreno, among others stood out. The repertoire of the Colón was enhanced with productions by Massine, Milloss and Gsovsky. In 1950, the Paris Opera Ballet led by Lifar and Toumanova brought Lifarian masterpieces. We were visited by Alicia Markova and Alicia Alonso; the latter began an important activity in Argentina which would extend up to her last appearance in 1987 with the Cuban National Ballet. By that time, several important groups visited our country: the Marqués de Cuevas Ballet, the American Ballet Theater and some Soviet Ballet groups. The movement of modern dance acquired a renewed impulse with figures like Schottelius, Fux, Ossona, Grinberg, Werberg and others; together with the remarkable Kreutberg and Dore Hoyer.

(*) Subjects which can be consulted. For more information on these items, address danza@surdelsur.com
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