Compañía Salvador Távora
Forty-five years ago, from our throats we heard a hoarse, hurt, aggressive cry; and from our feet, blows of old, distant and distant flamenco that the dictatorship promoted in splendid festivals, tablaos and theaters to entertain. In that dramatic study on cantes and dances of our Andalusia, which we call COMPLAINT, we incorporate in sound expressions, the pain of an entire people: the peasant struggle of which Blas Infante spoke, the dramatic silence of the emigration, the scars that cause in the soul the fear, the closed mouths of the popular medium, and Andalusia crushed by the panderetera image that covered, with a black cloak embroidered in gold, hunger, illiteracy and the easy joke of its harsh reality.
By an impulse born of our dignity as Andalusians, we face alienation with our backs loaded with the cantes and dances of our land and our naked breasts to receive the violence of the well-to-do sectors that shouted an Andalusian paradise.
The step was decisive: in addition to its social function, we... +
...uncovered the aesthetics of a popular art based on the violent beauty of our cantes and our dances stripped of the virtuosity in the voices and lace ruffles in the dresses. Since our presentation in Paris, on April 22, 1972, at the Grand Amphitheater of the Sorbonne, invited by the Festival of the Nations Theater within the section of “Political Theater and Cultural Minorities”, we have traveled the world with the echo of a shout that surprised the cultural field of stage art: 25 premieres, more than 5,000 performances, 34 countries visited and attendance at 200 International Festivals.
And the name of our land was consolidated according to their identity and their work achievements. Andalusia stripping it of the colorful folklorism in those prevailing times began to have a place in the panorama of demands fully in march in our town.
At the cry of Viva Andalucia libre for which Blas Infante died with two shots in the chest, symphonic choirs and white and green flags of rich cloth have been put on him.
Circumstances long and difficult to count in these difficult economic times and ideologically confused, have led us to return to that spectacle, QUEJÍO, from this shelter of popular theater that we occupy in our neighborhood, with the same illusion and exact conviction that in that distant date of its premiere.
To close the cuffs today in an intimate space like that of our theater, in our neighborhood, is to return to face uncertainty, in the shadow of poverty, inequalities and above all forgetting the cultural commitment of Andalusia as Nation.