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Rocío Molina

Bosque Ardora

Théâtre de Villefranche, Radiant - Bellevue, Lyon / Caluire

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On the radical side of new flamenco, Rocío Molina has created Bosque Ardora for six musicians and three dancers. No matter the music, the surface, the gestures or the place, so long as there is giving. And the constant theme of flamenco as a dance of reactions.

 

What does the title – Bosque Ardora – say about the new piece and about flamenco?
“Take action,” that’s what the title means. That’s what I express in dance and movement, through flamenco. A reaction to a music, a setting, a smile, whatever. That is what gives impetus to my body. The idea of movement takes o! from there: the most visceral moment of reaction possible.

What indications did you give the dancers?
There are three dancers and six musicians. It’s a very musical piece, working with a sound space that is both the introduction and the guiding line. I asked the dancers to forget who they are. I want them to move in total freedom, without preconceived ideas. What interests me is updating the exact junction of human and animal. I am always looking for that person, in me and in others.

How do you define these exploratory wanderings you call “impulsos,” that you do in public places and often record on film?
When I do these performances, I only think about what I want to dance, and not how. Let’s say it’s like a gift. Last year I was touring in the United States and I had a day o! in New York. I went to Central Park with my dance shoes and I started dancing with all the musicians I came across in the park. For hours. It was the best day of rest I ever had. That’s why I dance, to connect with my childish side. It’s a form of naiveté that I hope to preserve at all costs.

Among your forays into the public space, last May in Barcelona, you danced in the street in tribute to Carmen Amaya. What does she represent for you?
She is the image of the strong woman in flamenco, the only one to create a hypnotic effect on everyone who saw her. My new piece is the result of experiences I had with the “impulses” I performed throughout that year, but delving a bit deeper into the character of Carmen Amaya opened up new concepts for me, such as mandate, power, danger, seduction, attraction, play and war.

When did you start playing with the traditional framework of flamenco?
I have always kept an eye on tradition. I still believe that this tradition is the genuine source of avant-garde. But a time came when my body needed more. I realised that I had mastered the technique but that behind it all, there was a vast world. That’s when I began creating new languages, first one, then a second… After that, the body keeps asking for more.

What were the first lines you crossed?
The first line is mental and you have to free yourself of what supposedly constitutes flamenco. Then comes the body. I allowed it to move any way it wanted, though it wasn’t always pretty or right. Then it was time to cross the musical line. I can dance to anything and on anything. Then, finally, I stopped paying attention to the orthodox arbiters of my art.

Transgression in your work can also be seen in the lines of the costumes, or rather the way the body is revealed. Why did you take that route?
Perhaps it reflects the need to show what exists beyond just the movement. It’s like removing layers of clothing, getting down to the skin and then removing that, too, to get to my soul without fear of revealing my weaknesses.

As the daughter of a classical ballet dancer, what made you choose flamenco?
I suppose it was because of the tradition of my region and my village. In Andalousia, it was normal at the time to send children to dance school. I love ballet and its discipline, but flamenco elicited much stronger emotions, it stirred something inside me and begged for more. Like an addiction.

rocio-molina

"What interests me is updating the exact junction of human and animal. I am always looking for that person, in me and in others."

RocÍo Molina

Théâtre de Villefranche

Dates et horaires

  • Fri 19 Sep20:30
  • Durée : 75 min environ

Tarifs

  • Plein tarif 29€
  • Tarif réduit 26€

Abonnement

  • CatégorieB

Radiant - Bellevue, Lyon / Caluire

Dates et horaires

  • Sun 21 Sep18:00
  • Mon 22 Sep20:30
  • Durée : 75 min environ

Tarifs

  • Plein tarif 29€
  • Tarif réduit 26€

Abonnement

  • CatégorieB

Piece for 3 dancers and 6 musiciens — 2014 — Run time 1h15

Direction artistique et dramaturgie : Rocío Molina avec Mateo Feijoo

Direction musicale : Rosario « La Tremendita » — Poèmes : Maite Dono — Danseurs : Rocío Molina, Eduardo Guerrero, David Coria — Musiciens : Eduardo Trassiera (guitare), Jose Angel Carmona (chant), Jose Manuel Ramos « Oruco » (palmas-compas), Pablo Martin Jones (percussions), José Vicente Ortega « Cuco » (trombone), Agustin Orozco (trombone) — Musique : Eduardo Trassiera (composition de guitare originale et arrangements pour trombones) — Collaboration : David Dorantes (composition de la pièce Mandato pour trombones) — Scénographie : Mateo Feijoo — Création costumes : Josuep Ahumada — Création lumières : Carlos Marquerie

Spectacle présenté avec la participation exceptionnelle de la région Rhône-Alpes.
Accueil : Théâtre de Villefranche sur Saône, Radiant - Bellevue, Lyon / Caluire, Biennale de la danse

Coproduction Biennale de la danse de Lyon 2014, Festival de Marseille_danse et arts multiples, Théâtre National de Chaillot, Théâtre de l’Olivier / Scènes et Cinés Ouest Provence, Festival Internacional Madrid en Danza, Bienal de Flamenco de Sevilla, Théâtre de Nîmes – scène conventionnée pour la danse contemporaine, Ballet National de Marseille, Théâtre de Villefranche Spectacle présenté avec la participation exceptionnelle de la région Rhône-Alpes.

Photo © Rafael Gavalle - Portrait © Tamara Pinco