The Surrealism and Tango job uses pictures to visit the roots of tango – A dancing danced just between guys about 1890 from the whorehouses on the suburbs of Buenos Aires. Manhood was there of intense significance and the only girls who may encounter were the European prostitutes working there. Those girls replicated that tango, with lyrics, to dancing it. Both teams could only exist with that “lack” that’s the basis of the genre.
Jorge Luís Borges states: “Tango, comes with an notorious source which may be felt.” That source is legislation, the regulation of courage; this gangster pride which prises the mommy, but despises any lady’s love and does not respect any jurisdiction.
Cerrame el ventanal, que quema el sol, su lento caracol de sueño; ¿no ves que vengo de un país, que está dormido, siempre gris, tras el alcohol? (“Close to the window for mepersonally, the sun is burning, its slow snail of fantasy; can not you see that I come from a nation that’s asleep, always grey, constantly behind alcohol?”) State that the lyrics out of La última curda, composed by Cátulo Castillo.
The sunlight assaulting a mythology of the night, exposing a guys simply lodge that sings deceipt using a dark voice Tango.
Primero hay que saber sufrir, después amar, después partir y al fin andar sin pensamiento (“First you need to understand how to endure, then enjoy, then depart and in the conclusion without consideration”) states Virgilio Expósito at Naranjo en Flor and his poetry only affirm again the sadomasochism in tango. Nothing may tempt the unbeliever, neither love, nor nation or intellect. But again the contradiction is within this brown river: Nearly 80 percent of tango lyrics speak about love.
Tango Cabaret Group paints his scenes using this particular substance. Surrealism is deep within the genre. By Carlos Gardel’s roots and his “sexuality” into the repudiation Piazzolla needed to endure, nothing retains the permanent truth. Because tango is sense, as the favorite saying goes, “Tango is a feeling that’s danced”, and there’s not anything more ambiguous than a sense.
Argentinian director Pino Solanas, in Tangos, the Exile of Gardel, was appropriate when revealing tango being chased in hazy corners, such as out of a fantasy. With the exact same fanciful psychic automatism he puts together two Argentinian myths using a “partner”: Carlos Gardel and General San Martin (collectively with Simon Bolivar among America independence fighters).
Tango Cabaret Group functions in a similar manner as makes XI century Persian poet Omar Khayyam sing tango; even if the exact same actor and singer plays a pimp and immediately after a French madame at Buenos Aires.
From the series artists such as Salvador Dalí, Marquis de Sade or Frida Khalo create an appearance. They have other roots, but they’re quite near tango due to their provocative work and since they were and are intimidated by the institution. At precisely the exact same time that André Breton and his well-intentioned buddies were working around the Surrealist Manifesto at Paris, tango was prohibited in Buenos Aires to get a lecherous dance.
Tango Cabaret Group lyrics are much in the tango stereotype and dive to now problems like religious fanaticism or psychological intelligence. That is why the link between surrealism and tango isn’t a random person, it defines the group’s ethics and aesthetics.