Vicente Nebrada
Vicente Balbino Nebreda Arias (Caracas, Venezuela, March 31, 1920 – ibid, May 26, 2002)[1] was a choreographer and dancer who was considered a Venezuelan pioneer for dance during the 1940s.
He was part of the Cátedra de Ballet del Liceo Andrés Bello, the first attempt at a formal dance school in the country.
Steffy Stahl, an Austrian teacher hired by the Venezuelan state, taught the rhythmic gymnastics course applying the Dalcroze method and put on end-of-year shows in which Vicente played the Indian Guaicaipuro.
Four of its members, the Argentine spouses Hery and Luz Thomson, and the Irish David and Eva Grey, decided to stay in Venezuela fleeing the misery in which Europe was mired after the Second World War.
There he strengthened his friendship with those who would be his dance partners for years and with whom he would leave the country, Irma Contreras and Graciela Henríquez.
His spatial designs are symmetrical, harmonious and often organic, with dancers moving across the stage, while lending a visceral sense of ownership to his dances.
This approach is inherent to Latin American idiosyncrasy, and his existence is perhaps a residue from the classic ballets of the romantic era.
Some of his best known narrative ballets or classical adaptations are The Nutcracker, Romeo and Juliet, FireBird, Don Quijote, Copelia, Cinderella, Inés de Castro, Van Gogh, and George Sand.
Examples include Our Waltzes, Lento a Tempo e Apassionato, La luna y Los híjos que tenía, Una Danza para ti, A Haendel's Celebration, Pentimento, Double Colchea and Fever, among others.
Allan Ulricht, writer of the Dance examiner for the San Francisco Chronicle, said: "…'Fever' is clearly an export ballet…" "…The choreography is structured like a classical diversion and Nebrada affirms the women's communal purpose with repeated circular forays.
After two years of work with the Nena Coronil company, Nebrada along with his inseparable friends of the time, Irma Contreras and Graciela Henríquez, realized that to continue their professional careers they should travel outside of the country.
It was then that Irma Contreras, using her close contacts to Marcos Pérez Jiménez,got an appointment with him and asked for a scholarship for the three to study outside of the country.
Robert Joffrey, who was the director and founder of the company, did not accept Rebekah’s demands and the Harkess Foundation withdrew its sponsorship.
In 1967, tired of dance, with an injured body, and feeling like he was at the age of retirement, he decided to speak with Rebekah and asked her for the opportunity to begin his career as a choreographer and for a smooth transition.
This piece was presented in 1969 and immediately became part of the company’s professional repertoire, which it took to a festival in Germany, receiving great reviews from the judges.
[12] Nebrada's extensive body of work brought a sense of distinctiveness and relevance to Venezuela's cultural heritage.
As with many other companies in the world, the National Ballet of Caracas continue to struggle to maintain its season, pay its dancers and remain viable.
