They project in the San Martín film dedicated to a remarkable reference of dance

Is projected today at 18 “Wainrot, behind the scenes”, A movie from Teresa Constantini that after his debut at the Mar del Plata Film Festival landed at the Lugones of the San Martín Theater. As a tribute to the life and work of this outstanding referent of dance, the documentary links his personal and professional experience with a journey that evokes Wainrot From the Buenos Aires of the 40s. Son of Jewish Poles immigrants whose families were exterminated during the Holocaust, Wainrot He grew up in a convent and from there began an exceptional path.

His link with the San Martín Theater began in 1968 as a contemporary ballet dancer, under the direction of Oscar Aráiz and Ana María Stekelman. In 1982 he assumed the artistic direction of the company, a decisive stage in its development as choreographer.

Since then, he built an outstanding international trajectory, with more than 165 works in companies around the world: The Juilliard Dance Ensemble, English National Ballet, Royal Ballet of Wallonie, Cincinnati Ballet, Bat Dor Dance Company of Israel, National Ballet of Chile, among others. We talked with Constantini.

Journalist: Why did you want to pay tribute to Mauricio Wainrot? Do you feel that it does not have the place it deserves in culture, perhaps as with dance, which is somewhat relegated?

Teresa Constantini: Both dance and other artistic expressions do not have a tribute to the creator. In the case of Mauricio it was somewhat intuitive because I knew little and the possibility of discovering this person behind this dance company and his vast work carried out. The transit of being next to him while I made the documentary led me to make us more friends and take note of what value he had for him and for me that this film would be made.

Q.: What could you know about its creative universe, the international trajectory, and its origin, son of Jewish Polish immigrants who were killed in the Holocaust? How did he mark it and how he was reflected in his work?

TC: Meeting Mauricio and his story led me to have the joy of which I was summoned while we did the documentary to present Ana Frank, an emblematic work of his personal history, nothing less than in Gdansk, where the war began. I asked him to go to Warsaw to tour the places where his parents had lived and escaped. It was very hard for him, in 30 years he had not gone and there he could reveal and heal something in his story. It was always crossed by its history and I highlight that crossing of life with creation, where it is always reflected who the person is.

Q.: How was that jump of parenting in the Conventillo and its link with the San Martín Theater?

TC: His father took him to his first class of dance, which he died young and did not see him, not only succeed but dance because Mauricio began to do it at age 20. A father who saw his son and did not want him to have to do something to do but aspire to do what he liked. That father prompted him to devote himself to his essence, to dance, singing, acting. Mauricio studied theater and entered Columbus in Grande, had good teachers who helped him. They saw a gift and a genius that he could develop. Then in the company of Oscar Araiz del San Martín began as a dancer, continued as choreographer and ended up directing her.

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Q.: How did you receive this documentary at the Mar del Plata Festival and how do you follow your projections tour?

TC: The festival was a party, they invited us and were three projections, each had a later dialogue and was received with emotion, thanks and reflection in the history of Mauricio. We become aware of how gross Mauricio is, respected, admired, not only for me but for many people. Thanks to that we premiered for more public in the Lugones of San Martín.