Category Archives: Venues
Quand la vie n’est pas ailleurs (When life is not elsewhere) Three women on stage. Two mirrors that reflect and a mother. “Grito Pelao” is the pleasure of the perfect voyeur viewer, the opportunity to see two of Iberia’s most brutal stage animals on the boards. And to be able to contemplate them, for more inri, in combustible and unfixed terrain. And it’s true, it’s a luxury to see these two greats sharing the scene, dancing and singing together, who do it. But that’s where the static mythomania in this work ends. From the beginning, the piece tells us that the bet is different, that it is not about coming to see one of the flamenco greats, Rocio Molina, dance, which knocked down the last wall with the most brutal zapateado and then recomposed it with elliptical arms; and listen to Silvia Pérez Cruz, the singer who knew how to thrill the last skeptic of men with that voice that seems to come out of the back of the story and discovers a new tuning in each song. The mythological gaze on art and, ultimately, on life is limited. It is true that these two young women are already half legends, that many of us have pieces, records, steps and songs recorded by fire. Each one in his profession, dancing and singing, have managed to carve out a mastery in the highest technical requirement, the one that also demands to deliver the soul. But the wager matrix of this work is not focused on this knowledge or the simple scenic cohabitation between the two. What the viewer will find in “Grito Pelao” is the birth result of the delivery and the courage of the unlearn, from which it is deconstructed. She will find herself before a scene open on the canal, spun on female baba, with a melting scream, with a blind cane. Molina and Pérez Cruz, tied to a complicity that seems atavistic, instinctive, have decided to let go of their securities and enter an unknown space that inevitably attracts them. These two greats of the technique with soul have decided to unlearn themselves looking at each other, taking a step of believing in the void, both seeking the rite of the encapsulated caterpillar, the one that allows the rebirth. Thus, we find ourselves before a Molina that transforms her body, her way of dancing, searching from the stillness, from the waiting, from the listening. She, who has worked so hard from the pure power, delivered, extreme, now seems to seek another wisdom on stage, a wisdom attached to that desire to be a mother, a search where life and art, dance and identity are united. And on that trip she is still blind, generous, delivered, Pérez Cruz, looking for her, pointing her, supporting her, inciting and, at the end, also immersed in that powerful space of listening and desire created by both and where they allow themselves to get lost. A space of desire, desire to be mother of Rocío, desire for transcendence, love delivered, where both artists (as if they were two furious Chomskian semiologists) auscultate until the last breath the deep structure of the feminine. The scene breathes feminine power, of the woman as a creator of life and united to her in a legendary chain made of pain, love, fear, denial, firmness and courage. And in that space that is telluric and sonic, which advances tied to five musicians that go rocking and administering the waves, the lucid old age of the recomposed mother appears. Molina in a success that from the outside does not seem to have been easy, invites his mother to the scene, Lola Cruz. The mother who is reproached and who is needed, the mother who was irremediably also a daughter and who would give everything. There is in this piece a rich accumulation, which seems to go by layers, of the concept of love and birth, of the desired and the begotten. And in those layers Lola Cruz capes and Molina thanks her for the most flamenco dance, the one that is delivered. In “Grito Pelao” be attentive to those two wonders of Lorca lyrics that Silvia Pérez Cruz has created for the piece, enjoy the Molina dance that today breathes in extreme generosity, enjoy with the piece of musicians that are made accompany these three ladies, discuss with pleasure the dramaturgic capacity of one of our wise men of the scene as Marquerie … But with intuition I dare to tell you to focus on that space of freedom worked by these two creators, there is the engine of this piece, your little heart being born.
Construido en 1927 para la Exposición Iberoamericana de 1929, el Teatro Lope de Vega, junto al Casino de la Exposición, el Pabellón de Sevilla. Vicente Traver y Tomás planeó para él una arquitectura barroca, siendo el edificio fiel a ese estilo tanto en el conjunto como en su ornamentación. Caja escénica, butacas, platea, palcos, anfiteatro y paraíso le confieren una espectacular belleza. Al terminar la exposición, la vida del teatro pasó por grandes altibajos, hasta que en 1985 vuelve a manos del ayuntamiento y se realiza una profunda e imprescindible reforma que devolvió al valor de las características originales, limitando el número de espectadores a 749. Se reinauguró el 21 de febrero de 1988 y, a partir de esta etapa, el Teatro Lope de Vega se ha convertido en pieza fundamental dentro de la actividad cultural de la ciudad, sirviendo como lugar de representación para todo tipo de espectáculos, con una programación nacional e internacional que se encuentra entre los teatros más importantes de España.
Pursuing his constant desire to reinvent a style rooted in tradition but always looking towards horizons to explore, Andrés Marín faces in his new project D. Quixote two pillars of the Spanish culture, flamenco, of which he is one of the contemporary artists most emblematic and Don Quixote de Cervantes, to shake its foundations. Claiming a flamenco capable of facing the most contemporary stage forms and also finding in itself the resources of its own deconstruction, D. Quixote is projected in the space of fiction to provoke one of the founding myths of our culture and reinvest your own dance. Crossed by all the energies that have shaped our modernity, Don Quixote offers an unlimited challenge to those who intend to reinterpret it in the light of our current affairs. Aging, the will of desire and the pain of failure, sexuality without an object, the impotence of acts and the dictatorship of conventions, the inability to reorganize the order of the world by the force of imagination are the basic themes of the Quixote that they light better than others the drift of our societies and our disoriented lives. From the performative or the musical, from literature or compas, D. Quixote ventures into territories where the body, sensitivity and friction serve as guides to sublimate the flamenco poetics through sound, image and literature . Without limiting himself to the mythical figure of the character of Cervantes or to the history of his adventures, Andrés Marín, with the complicity of the director and playwright Laurent Berger, chooses fragments of the primitive force of the work to extract some hybrid elements that can offer a new expression, that of flamenco, transforming poetry into energy and dance into literature. Always inhabited by an animal and at the same time sensitive corporeity, continuing his search for an instinctive as well as precise musicality, Andrés Marín offers Don Quixote a unique melting pot, a metaphor for his battle to bring his flamenco to new frontiers. Pleasantly urban and provocative, sonorous and contemporary, carnal and spiritual, faithful to a style that defies orthodoxy knowingly, D. Quixote offers a challenge to the aesthetics of flamenco to find its sources again.
We can sometimes think that all that life offers us tomorrow is to repeat what we did yesterday and today. But if we pay attention, we will realize that no day is the same as another. “Modern man trying to eliminate the uncertainties of life and doubts, and in doing so, he left his soul dying of hunger, the soul feeds on mysteries.” Discipline is always fundamental, we are more aware of our faults and distractions, but we also understand that at certain moments there was no reason to act as we act and we follow our impulse, our intuition; It is there that we begin to understand this silent language that shows us the right path. You can call it intuition, signal, instinct, conscience, it does not matter the name. What matters is that through “conscious attention” we realize that we are being guided many times towards the right decision. And this leaves us more confident and stronger to take out, show and give away everything we have inside. I follow the path of my dreams, to seek my personal treasure. And during this journey I have gone through different situations. And in all this way I have learned to listen to the signs to let myself be carried away towards my destiny and happiness, learning to listen to the voice of my own heart. “My little things”
SETLIST Inés Bacán por Bulerías Juan Bacán por Soleá Concha del Lagaña por Fandangos por soleá Juan Bacán por Siguiriyas Curro Vargas por Fandangos naturales Miguel Funi hijo por Soleá Miguel Funi hijo por Cantiñas Miguel Funi hijo por Bulerías Pieza de composición por Siguiriyas de Pedro Bacán Inés Bacán por Siguiriyas Inés Bacán por Soleá Javier Heredia por Bulerías Fin de Fiesta por Bulerías
With the expulsion in the seventeenth century of the last Moors of Granada – heirs of the very first Muslims settled there, coming from Syria – the Andalusi song seemed to have been condemned to confinement in the memory of the exiles; but the official victory could not prevent the Moorish musical art from infiltrating the Andalusian folklore to fecundate flamenco. Mixed in the melting pot of marginalization with gypsies and transhumant of all laya, the last Moriscos bequeathed Andalusian musical DNA its melismas: that unmistakable way of vocalizing that, beyond musicological tests, turns the head of any Spaniard when he hears singing of the muezzin. Let’s hear how those ancestral artistic relatives unite today their voices to make our music alive and pulsating … Da pacem, Domine (Canto gregoriano)- Romance del caballero, al que la muerte aguardaba en Sevilla-Mawwall (Tradición egipcia) La Spagna Anonymous (XV century) Di, perra mora Pedro Guerrero (XVI century) Seguiriya “Que pena más grande” Carmen Linares & Fahmi Alqhai Romance de la pérdida de Alhama: Luis de Narváez (ca. 1500 – ca. 1555) – Fahmi Alqhai Qué es de ti desconsolado Juan del Encina (1468 – ca. 1529) Al’anbia’ Ghalia Benali & Fahmi Alqhai Emsk Dumuak Ghalia Benali & Fahmi Alqhai Farruca Dani de Morón Tientos-tangos “El morito es una flor” Carmen Linares-Dani de Marón & Fahmi Alqhai. Din al Hob Ghalia Benali & Fahmi Alqhai
José Valencia’s new show is going to be called Bashavel, a Romanian word that means meeting, meeting, which is precisely what we want to provoke in this new production a meeting of two cultures, two music that walk independently but that drink from the same . José Valencia wants to show the beauty of the gypsy poetry of the world, in Romany and in Spanish, looking for the connection and musical, expressive and ideological similarities, to show that approach, to teach that there are other wonderful forms of music, which are closer to what we imagine PROGRAM 1° ANTES QUE NOSOTROS 2° ENTRE LO BLANCO Y LA HENDRINA 3° POEMAS PARA AMAR EN 15 SOLEARILLAS 4° SIEMPRE NUEVAS 5° MI ESPERANZA 6° I’LULUDI MERINASQUE 7° HONDO ARREBATO 8° MÍRALA PRIMO, MÍRALA 9° PENAR OCONO
The Teatro Central in Seville opened in 1992 on the grounds of which was the site of World Expo. The volume of the theater is a box within a box, with a mobile stage that allows all sorts of possibilities. The public also varies in position and capacity in various representations, either the Italian, Elizabethan, sand or concerts. We talked about a clean volume, clad in natural stone, nude, without ornamentation, which stands out from the vegetation along the Guadalquivir river water. He is considered one of the best avant-garde theaters in the country, and it usually shows different disciplines are scheduled, including flamenco.
The force speaks to us of the combat that we take daily against the laws of a society that imposes its feigned happiness and its materialistic dream. Against a world of “gold and boasting”, against labels, against virtual ties, against laziness that makes us ignore each other, strength is that illusion of tearing down those fictitious walls to look at us once and for all face, body to body, and face the truth. The strength is to breathe when reality overwhelms you, is to surrender when everything is bought, is to risk when only security is worth. The force is a woman who sings not to let the ideas die, an instinct of self-improvement that she carries inside as a last resort against the hatred of cowards.
The Real Alcazar of Seville is the Royal Palace with continued use as the oldest royal residence in the world. Today it remains the official residence of SS.MM. the Kings of Spain during their visits to Seville. The primitive fortification was constructed around the year 884 like defense of the Norman invasion to Seville. The Real Alcázar has witnessed great historical events of all kinds, as well as being a mandatory tourist and cultural reference of the city.