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Rocio Molina y Silvia Pérez Cruz COMPAÑÍA DE ROCÍO MOLINA
Sep. Tue 18 | 20:30 | De 22,00€ a 40,00€ | BUY

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.


Original idea: Rocío Molina

Artistic direction: Carlos Marquerie, Rocío Molina and Sílvia Pérez Cruz

Dramaturgy: Carlos Marquerie

Choreography: Rocío Molina

Musical concept: Sílvia Pérez Cruz

Musical composition and lyrics: Sílvia Pérez Cruz

Flemish composition: Eduardo Trassierra

Sound landscape: Carlos Gárate

Scenic space: Carlos Marquerie (concept and drawings), Antonio Serrano (design and materials), David Benito (animation and projections)

Lighting design: Carlos Marquerie

Assistant director and choreography: Elena Córdoba

Costume design: Cecilia Molano

Costume assistantship: Emilia Ecay

Costume creation: Isabel López and Rafael Solís

Documentation: Elena Córdoba and Cecilia Molano

Program photography: Pablo Guidali

Text of the program: Pablo Caruana

French translation: Christilla Vasserot

Poem of Sylvia Plath – For a fatherless are


Rocío Molina Cruz: Dance

Sílvia Pérez Cruz: Voice

Lola Cruz: Dance

Eduardo Trassierra: Guitar

Carlos Montfort: Violin

José Manuel Ramos “Oruco”: Compass

Carlos Gárate: Electronics

Antonio Serrano: Technical and technical lighting management

Juan Casanovas: Sound

Javier Álvarez: Sound

David Benito: Video and machinery

María Agar Martínez: Regiduría

Production: Molina Dance

Magdalena Escoriza: Company Production

Loïc Bastos: Executive Management of the Company

Co-production: Chaillot, Théâtre national de la Danse, Paris; Grec 2018 Barcelona Festival – Institute of Culture, Barcelona City Council; Festival d’Avignon; Théâtre de Nîmes – scène conventionnée d’intérêt national – danse contemporaine – art et création; Bienal de Flamenco de Sevilla.

With the collaboration: Festival Temporada Alta – Girona; Teatros del Canal – Madrid.

Show premiered on July 6, 2018 at the Festival d’Avignon.

Rocío Molina is an associate artist of Chaillot – Théâtre National de la Danse de Paris.

Rocio Molina

An iconoclastic choreographer, Rocío Molina has coined her own language based on the
reinvented tradition of a flamenco that respects its essence and embraces the avant-garde.
Radically free, combines in its pieces the technical virtuosity, contemporary research
and the conceptual risk. Without fear of weaving alliances with other disciplines and artists, their
Choreographies are unique scenic events that draw on ideas and forms
cultural activities that range from film to literature, through philosophy and painting.
A restless dancer, Rocío Molina was born in Malaga in 1984. She starts dancing to the three
at seventeen, he sketches his first choreographies, at seventeen he graduates at the Royal
Dance Conservatory of Madrid with honors and becomes part of the cast of
Professional companies with international tour.
Twenty-twentieth birthday premieres Entre paredes. A first piece followed by other
own creations that have in common a curious and transgressive look on an art
flamenco that flees from the roads already traveled: The eternal return (2006) Turquoise as the
Lemon (2006), Almario (2007), For the... +

Silvia Pérez Cruz

Sílvia Pérez Cruz (Palafrugell, Girona, 1983) is one of the most overwhelming voices that has
appeared in recent times in the peninsula. Speak the language of music since
has use of reason, grew up among Iberian and Latin American popular songs, was educated in
the classic and jazz. Contacted by flamenco through a connection that seems
supernatural, sings in a way that is only his and shudders.
It would be impossible to frame Sílvia Pérez Cruz in one style. It is versatile and
unmistakably personal. Two qualities that rarely coincide and instead she
define She is faithful to the different styles that she tackles without ceasing to be, at any time,
He studied between the ages of 4 and 23 a wide range of subjects related to music:
solfeggio, sax and piano classics, drawer, harmony, singing (jazz and flamenco), improvisation, arrangements,
saxo (jazz), composition … She graduated in jazz singing at the ESMUC.
He has been part of countless albums and projects, and has collaborated with artists such as... +

Teatro de la Maestranza + info and programming
how to arrive:


Paseo de Cristóbal Colón, 22 (Casco Antiguo).

Medio: Bus: Line 3 [Stop Paseo Colón-Teatro de la Maestranza], Line 21 [Stop Paseo Colón-Teatro de la Maestranza], Line C4 [Stop Paseo Colón-Teatro de la Maestranza], Line 40 [Stop Paseo Colón-Teatro de La Maestranza], Line 41 [Stop Paseo Colón-Teatro de la Maestranza] and Line C5 [Stop Paseo Colón-Teatro de la Maestranza].

Indicación: It is the work of the architects Aurelio del Pozo and Luis Marín. It was inaugurated in 1991. The main hall has a cylindrical shape with a capacity for 1800 spectators. It is distributed in stalls, two terraces, a balcony and paradise. In the year 2007 a reform was made that doubled the size of the stage, which went from 800 square meters to 1600. Thanks to its variable acoustics, different shows can be performed, from operas to classical concerts and recitals, including flamenco, ballet and zarzuelas. In addition to the main hall, the complex contains experimental theater rooms, exhibitions, conferences and a cultural research center. Of particular note is the Manuel García room, in which chamber operas and small format are represented. Likewise, the Teatro de la Maestranza is the headquarters of the Royal Symphony Orchestra of Seville (ROSS), which not only regularly participates in opera performances, but also has an intense concert season throughout the season. In the 2007 reform, an exclusive testing room was incorporated for ROSS.