Bosque Ardora

Rocío has chosen her men: 2 dancers and 6 musicians. A behind closed doors for these eight men in front of this woman, this dancer by tyruns ecnhanting, charmer, huntress and lover. 

She knows men’s weakness and agrees to be their prey, but only to direct them, dominate them, love them, fight them better and finally abandon them. 

Rocío Molina is like a flower. “Yes” she says “But a flower that can  grow on a rock and die to reborn more beautiful and stronger”.

“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  exquisitelysubmissed 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 imprison-ment  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.

It is a peculiar day imagined by Mateo Feijo and Rocío Molina. A day  that will last the time of the performance, to go from dawn to dusk.  Carlos Marquerie’s light retrace the course of the sun, from dazzling  lights of midday to the sometimes scary sha-dows of the twilight.

With the experimentations and improvisations – “Danza Impulsiva” –  that Rocío Molina presented in the most diverse and unusual spaces (a  fountain in Barcelona, Seine riverbanks in Paris or Central Park in New  York), she found a freedom, in the movement as much as in the rythm.

Fearless of anyone including herself, she gives in to a quasi savage  and almost pagan choreographic partition for Flamenco aficionados. Yet,  the purity of movement, the virtuosity of her “punteados” and  “redobles”: everything is there and much more.

Source: Rocio Molina’s website