Bosque Ardora

Rocìo Molina s’abandonne dans une partition chorégraphique quasi barbare presque païenne pour les aficionados de Flamenco. Pourtant les codes du Flamenco sont là.

Artistic direction : Rocío Molina avec Mateo Feijoo

«Bosque Ardora» begins with a 4 minutes movie, projected on a gaze tightened on front stage. This is the dawn of a beautiful day. Rocío rides a horse in an imaginary forest. And then the curtain drops and Rocío appears, divine, in a velvet, leather and fur dress, like an fairy, an Amazon, a goddess…

The men look at her, scrutinize her but she faces and gauge them. Some steps, some movement of shoulders, some looks. But who will be the preys and who will be the hunters. A games take place between Rocío and her men, who have succombed to the charm of this dominating and exquisitely submissed to whom would play with her.
And the emotions run throughout the work, and are the common theme that will guide the audience to the end of this not always fairy tale.

The stage is empty. The German legs drops provide an imprisonment sensation. A few trees, roots un the sky, are the only screens to hide them to the audience sight, to spy and aim their prey better. No one will be able to leave stage during the whole performance.

Rocìo Molina gives in to a quasi savage and almost pagan choreographic partition for Flamenco aficiona- dos. Yet, the purity of movement, the virtuosity of her « punteados » and « redobles ».

Source : Mister Dante