1994 performance casanova engl
ide hintze: a night for all beginnings
it was like returning to the times when even arcadia was far away; much was yet missing for the sword of alexander the great to cut the gordian knot and by this act to defy the invocations. in the mists of the future too, nothing then distinguished the days of corinth and eleusis, drifted through by the mysteries or secret cults: so solitary the body of man, his movements reminiscent of some night bird that seeks to take its flight to the stars, the sounds of its throat between a complaint and a joyous cry, to accentuate the forces that devour its entrails.
a reconciliation of man with nature, but equally a dialogue of the human with the divine, the resonant poems that ide hintze has brought to the city of holguín, in this voyage to give thanks from the heart, reveal a willingness to work at once careful with details and lavish in demands where the space of the drama and the ritual of sacrifice meet. first are the limits of ground and air, that the feet and hands can call forth the invisible; second are the gaps of shadows and murmurs, that the eyes and ears can have premonitions of the sacred.
ide hintze confirms the saying of octavio paz that "poetic activity is revolutionary by nature; a spiritual exercise, it is a method of inner liberation". in effect, the resonant poems that he creates warn of the irreducible, the immediately instructive in an experience that revolutionizes from within, training the spirit for the proposal of a system that liberates the hidden in an adventure of possibilities that, in constant transformation, discovers horizons in the body of the poet on his journey to the ancestral.
the fascinating may come from the incredible; beneath the dark night of the tropics, the patio of a 19th century building, still with a breath of mozarab architecture, for a production, scene and beginning: a poet of the german language, from the spiritual frontier of austria, who splits into both a child at play and a shaman who invokes, escorted by a group of poets to the shadow of the spanish language in a city in the caribbean, a place that invites the adivinations of the word, of the gestures, of the ceremony.
in the foreword to "the white goddess", his historical grammar of poetic myth, robert graves notes: "the 'present' is a civilization in which the prime emblems of poetry are dishonoured. in which the serpent, the lion and the eagle belong under the circus tent; the ox, the salmon and the wild boar to the cannery; the racehorse and the hunting dog to the betting ring; and the sacred grove to the sawmill". with “the golden flood”, ide hintze rescues the honour of those emblems and restores them to the discourse of our days threatened with environmental destruction and, his vocation accomplished for the jubilation of the poet and his adventures, voyages to a night for all times.
(eugenio marrón casanova, poet, professor of literature, in: the house of cultures. holguin, cuba, july 13, 1994. original language: spanish. translated from spanish by adhoc translations gmbh, vienna)