Rocio Molina y Silvia Pérez Cruz
COMPAÑÍA DE ROCÍO MOLINA
Sep. Wed 19 |
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.
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... +
...sake of the people (2007), Oro viejo (2008), When the
Silvia Pérez Cruz
piedras vuelen (2009), Vinática (2010), Danzaora y vinática (2011), Affects (2012) and Bosque
Ardora (2014) and Fall of the Sky (2016).
He is twenty-six years old when the Ministry of Culture awards him the National Dance Prize
for “his contribution to the renewal of flamenco art and his versatility and strength as an interpreter
able to handle with freedom and courage the most diverse registers “.
And twenty-eight when Mikhail Baryshnikov kneels before her at the doors of his dressing room
New York City Center, after the representation with thunderous success of Old Gold.
Since 2014, he is an artist associated with the National Theater of Chaillot in Paris where he will premiere at
November 2016 premieres Cáida del Cielo, its last piece.
Danzaora versatile, Rocío Molina is one of the Spanish artists with the greatest
international projection. His works have been seen in theaters and festivals such as the Barbican
London Center, the New York City Center, the Esplanade of Singapore, the Tanz Im Festival
August of Berlin, the SPAF Festival of Seoul, the Stanislavsky Theater of Moscow, the Theater
National of Taiwan, the Dansens Hus of Oslo and Stockholm, the Transamériques de Montreal, the
National Theater of Chaillot in Paris or the Bunkamura of Tokyo; in theaters or festivals
such as El Español or the Teatros del Canal in Madrid, the Flamenco Biennial or the
Teatro Central in Seville, the Mercat de les Flors in Barcelona, El Gran Teatro Falla in Cadiz, the
Cervantes in Malaga, the Jerez Festival … to name but a few.
Throughout her career, she has collaborated with great national flamenco figures such as María
Pagés, Miguel Poveda, Antonio Canales and Israel Galván, and with names of artistic creation
contemporary like Carlos Marquerie, Mateo Feijóo and Jean Paul Goude. The colaboration
with the latter has been developed by sharing the design of a project for the brand
Hermes in Shanghai in 2017.
His artistic search has been recognized with awards inside and outside Spain –
National Dance Award, Best Dancer Award of the Seville Biennial, Gold Medal of
Málaga, Max 2017 Award (Best dance interpreter; Best choreography for Fall of the Sky),
and 2015 (best choreography by Bosque Ardora), Special Award of the Dance National British
Awards in 2016 – and with the unanimous applause of the public and critics: A gifted dancer
and intelligent (THE WORLD), It is like the nuclear power of the interior of the atom (STANDARD),
A born talent of the most racial dance (EL PAÍS), It is the incarnated passion, urgent, almost red
alive, that seizes the body and moves it, moves it, spasms to spasm, and fills it with
rage and beauty. (LA VANGUARDIA), One of the best flamenco dancers ever
I’ve seen (THE NEW YORK TIMES).
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... +
Parra, Lluís Llach, Gino Paoli, Stefano Bollani, Rocío Molina, Jorge Drexler, Hamilton
Holland or Joan Manuel Serrat, among others. He has also sung with the National Orchestra of
Spain directed by Josep Pons. With the contrabajista Javier Colina he rescued the Cuban filin in the
project In the imagination (2011) and formed an occasional duo with Toti Soler. He debuted as
compositor and soloist with 11 de novembre (Universal, 2012), which brought together public and critical success
and for the one who received a gold record. In 2014 he received a new gold record for Granada
(Universal 2014), published in a duet with Raül Fernandez (Refree), with whom he also co-produced
Sílvia has worked throughout his career in various theater productions, directed by Joan
Ollé or Julio Manrique. He was also the voice of the film Snow White by Pablo Berger,
winner of 10 goyas in 2013, among them, the best original song.
Recently he has participated in the composition and recording of the soundtrack of Cerca de
your home, by Eduard Cortés, a film about evictions that has also starred.
This process crystallized in the Domus edition (Universal Music, 2016); with him he has reaped the
Biznaga de plata to best original music at the Málaga Film Festival (2016), the Premio a
best original music at the PÖFF (Black Nights Festival) in Tallinn (2016), the Gaudí Award
best original music (2017) and the Goya Award for best original song for “Ai, ai, ai” (2017).
His latest album is Vestida de nit (Universal Music, 2017), a work in which
Sílvia combines classics from her repertoire and unpublished songs to date on a record
arranged (by Javier Galiana de la Rosa, Joan Antoni Pich, Carlos Montfort and Sílvia herself)
for string quintet. The tour of Dressed of nit has passed, with great success of public, by
Argentina, Chile, Uruguay, Portugal, Turkey and France, also visiting more than thirty