Los Bailes Robados

It all takes place in a forest. Sometimes of barbed wire, broken bodies and chaos. Once of sublime beauty, elegant branches or starry skies. A Willis forest. The piece invites us to enter and feel the earth, to tread the dead leaves with dancing steps, to be these dancing beings, undulating bodies, skin, flesh and bones in eternal motion. To make a pas de deux with life, to take dance as a gift, and to be able to dance until the end, if you like, but in complete freedom. A choral creation steeped in political critique and social protest. On stage, the dancers move from hysteria, the frenzy of uncontrolled movement or chaos, to dramatic immobility and harmony, like masses connected to a single soul giving birth to a new entity of rhythmic movement. The musicians materialize these cries and incite the bodies to exorcise their dance. Denouncing enslavement and invoking freedom. Cry out for the woman, the madman and the different, scorned by customs and rules that allow no exceptions. For the witch, of course. For religion, pain and pleasure. For all the bones broken by their dances. All articulated from our own choreographic writing marked by Spanish dance, flamenco, the spontaneity and freedom of the avant-garde, questioning norms and codes through time and the relationship between the individual and society. Choreography, theatricality, image, sound and music are the tools for in-depth artistic research into contemporary flamenco creation in the 21st century.
David Coria