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Compañía Mercedes Ruiz TAUROMAGIA. CHOREOGRAPHY FOR THE WORK OF MANOLO SANLÚCAR Sep. Mon 17 | 23:00 | 25,00€ | BUY

The show proposes an investigation into the interrelations between flamenco / Spanish dance (in its broadest sense) and bullfighting. And this, not only from an artistic and aesthetic point of view of both creations, but as a language for the expression of experiences, emotions and feelings of its agonists: triumph / failure, dreams / realities, joy / pain, confidence / doubt, courage /fear…

In the dramaturgical development, the discursive developments of the two axes previously mentioned are intermingled and confused: that of the action itself and that of its protagonists.

Thus -and from the reference base proposed by the music of Tauromagia-, a research about the following is proposed:

The eros-tanat conflict; posed as two opposing energies / forces, at the same time as complementary: they need / disengage themselves in the course of life: the triumph of one means (in appearance) the failure (death) of the other. But, as for the tanatos / bull, its success (killing the bullfighter) does not prevent its death: it is a ‘being-for-death’. As the man, in short.
At the same time, this conflict has an aesthetic development in a triple dimension:
Search for beauty, artifice (bullfighter).
Natural expression of beauty (bull)
Artistic resolution of the combat eros-tanat.
Man: the dream of success and the fear of failure; certainties and dissatisfaction; the doubt, the anguish before the probable presence of death …
The artist: the process of creation, with its angels and demons.
The music of Manolo Sanlúcar enables and enhances this dramaturgical duality; since his Tauromagia is far from being a purely descriptive music (at the same time as beautiful and very flamenco): it speaks, above all, of the impressions, emotions and feelings of the composer and of man: of his existential experience.

I find it necessary to incorporate some sing / monody sequences (especially, in the development of the ‘human’ aspect of the show). For this, I turn to Miguel Hernández (one of the poets loved by Manolo Sanlúcar), embedding three sonnets in the musical sequence.

About agonists:

The fact that the dance interpretation is entrusted in its entirety to women (both soloists and dance corps) removes naturalistic overweight to the obvious (which is what is intended); while making him win in essentiality; in the humanization of vicissitudes and conflict.
The toro / bullfighter binomial forms an indissoluble duality, while interchangeable, reversible: the two soloists who interpret the bull and the bullfighter can / must do it indistinctly, according to the situations; thus allowing a fundamentally human and humanizing look (not bullfighting) on ​​the conflict. This idea also applies to the dance corps.
About the staging.

The duality light / shadow in continuous and violent contrasts must be the language that enables the visual expression of conflicts between opposites: happiness / anguish, success / failure, life / death …
Essential, instrumental wardrobe, subject to transformations that give specific meanings, according to the moment. Colors: red and earth tones for the soloists; green bottle / olive, blue prussian, purple … for the body of dance. And the black, like threatening storm veil.
Some recognitions implicit in the dramaturgy.

To the teacher Manolo Sanlúcar, on the thirtieth anniversary of the edition of his work Tauromagia, the glorious cathedral of the flamenco guitar.
To Mr. Manuel Muñoz Alcón, on the seventy-fifth anniversary of his birth.
And to the pioneers of the universalization of flamenco and those who broke barriers in the society of their time, by assuming the roles of men in dance, incorporating a masculine field such as bullfighting: La Cuenca, Carmencita (on the 150th anniversary of its birth) ), Argentina or Trini Ramos; in the distant remembrance.


DANCING | Mercedes Ruiz

DANCING | Ana Agraz

DANCING BODY | Beatriz Santiago, Aurora Caraballo, Vanesa Reyes

CANTE | David Lagos

GUITAR | Santiago Lara, Paco León

KEYBOARDS | José Amosa

PERCUSSION | Perico Navarro, Rafa Fontaiña




LIGHTING DESIGN | Nicolás Fischter



LIGHTING | Pedro Serrano

SOUND | Curro Ureba / José Amosa


PRODUCTION ASSISTANCE | María Gutiérrez / José Manuel Navarro

PRODUCTION DIRECTORATE | Guiomar Fernández Troncoso

It is a production of the Mercedes Ruiz Company. In co-production with the Theater de Ville Cusset (France). With the collaboration of the Villamarta Theater (Jerez de la Frontera).

Compañía Mercedes Ruiz

Mercedes Ruiz

Flamenco dancer

Jerez, 1980.


  • Premio Mejor Bailaora – Premio Nacionales Flamenco Hoy 2015
  • Best Bailaora Award – National Flamenco Award Today 2015
  • Audience Award at the Jerez Festival 2015
  • 2 Critics’ Prize at the Festival de Jerez
  • Prize of the Criticism ‘Flamenco today 2012′ for the Best Dancer
  • “Antonio Gades” Award at the National Flamenco Art Contest of Córdoba
    Prize ” Bienal de Sevilla ” (2002)
  • International Prize “Movimentos” (Wolzburg, Germany)


Mercedes Ruiz is the maximum reference of her generation in the commitment to evolution within the classicism of flamenco dance. His training has been fundamentally self-taught, going to the most important teachers and, above all, learning from them on stage. Thus, with only seven years he has already worked in the Company of Manuel Morao and Gitanos de Jerez. Later, and as a trained bailaora, Mercedes Ruiz enters successively in the companies of Antonio El Pipa, Eva Yerbabuena and Adrián Galia: three different artists in which Mercedes goes looking to forge her personality. A personality that already appreciated the... +

Teatro Central + info and programming
how to arrive:


Calle de José de Gálvez, s/n. Sevilla

Medio: bus

Indicación: c1 & c2 lines / José de Gálvez (Teatro Central) bus stop