Don’t let it go. Why Calientamento These are the montages that are remembered for years, or perhaps a lifetime. For several reasons: Rocío Molina, the show’s dancer and choreographer, is the main one. And for the show, what happened at the end of the show’s first performance on Saturday at the Centro de Danza Matadero in Madrid, which is actually not final because the dancer continues her dance, with the room lit up, while the audience understands that they must move on.
But the audience, all on their feet and applauding, remained fixed in their places as if it were not possible to leave the place where they had spent those hours of talent and delicious display, let alone leave the protagonist there, on the stage, who continued to dance. Then, as the auditorium finally began to flow and the spectators left their zones and walked toward the exit, the stage and Molina on the right, the film’s director, Pedro Almodovar, stopped in front of her, approached her, and extended his hands. Molina, with an emotional gesture, continued to sweat as if in a spectacle of ecstasy between exhaustion and fullness. Almodovar stood up after a few seconds, also moved by the two hours of picturesque events he had experienced, and blew a kiss. The dancer smiled shyly, without Takunyo stopping the 7-year foot table that he explained at the beginning of the show. end Calientamento It seemed like a pilgrimage, and Rocío Molina was a figure who seemed impossible to put in his step.
In 2010, after the presentation of his program I pray At the New York City Center, dance star Mikhail Baryshnikov also performed for Rocio Molina for the cameras. Almodovar, who was certainly aware of this tale, chose to plead there himself, producing magic both for the landscape and for the spectators who left the room.
On Calientamento There are so many things happening, some of them unprecedented, that it is not easy to face analysis without commitment Brake. By assumption, the event that overwhelms me is the delivery and insight of an artist who has reached places, of creation and interpretation, that are truly transcendent. Who discovers herself as a dancer who continues to explore the body proportions of flamenco, but also as an actress, a ceremonial teacher and a woman, in an exercise of extreme artistic demand and an intelligent and considered result. Sometimes a dancer’s face will look different and then their back will appear in the unfolding state of complete surrender that you can see transforming.
Aunt Molina had already worked on the text in other performances, and this was the first time he had stuck to the word from beginning to end, as he danced and danced and made chascarillos, with humor (“Here I go to make maria bages, look at my arms”) and poetry (“I saw a woman come in with her lips painted red, and a mouth that could devour itself”). And so the first 35 minutes of Calientamento And the warm-up: with the dancer standing on the stage and the living room lights on, while practicing this table that has accompanied her since childhood and telling her method and anecdotes with a microphone in her hand without the need to click. “If this ever seems too long, you can walk without a problem. Where’s the girl from the red shelter?”
The person responsible for these texts and the co-direction of the show is Pablo Mesés, an Argentine composer and theater director who has demonstrated on rare occasions the knowledge of working with dance and the wonderful practice of working with movement. The sum of his creed with the Cabosanroque collective on stage, Roberto Martinez in costume and Carlos Marcheri, who designed sharp, elegant, structural and sustained lighting, a scenic device in which everything is summed up, everything important, in a beauty that is removed from temporary places to offer surprise and magic (this sand that dances on the soles of the feet).
A separate mention deserves the musical direction of Niño de Elche, who composed a flamenco mosaic, intimate and finedro, with 70s gypsy rock from his past as Mother Massa. Las Grecas’ music crosses the show in many ways. There is a very clear disagreement that could turn into a spillover. But its importance is minimal, when it is loaded with meaning, it is key and correct. in the musical and in the overall bill of the show. The four wonderful singers (and actresses) who appear and disappear in spectacle, lighting and musical apparatus, complement and intensify with their presence and their voices the dramatic coherence that runs through them. Calientamento.
On a physical level, Molina resorts to new skills in this flamenco that returns and amazes with the deepest knowledge and the most empowering freedom. He visits various places where he appreciates the legacy of Bob Fosse, American cabarets, and even Louie Fuller and his band. Serbertina dance. It also seems that the billboards, present throughout the two hours (with excellent performances in some moments and an overwhelming stamp in the final scene), pay homage to the history of dance and recall, like delicate fireworks, without insistence (another work), the legendary scenes of choreographies such as Roses Dunst roses Written by Anne Teresa de Keersmaeker and Muller Café By Pina Bausch.
“If I don’t want to start, I don’t want it to end,” Rocío Molina says he doesn’t want the feast to end, and this statement reaches its climax at the end, when the dancer crosses over to techno music with an (unusual) surprise.
Calientamento can be seen at Matadero Dance Center until next Sunday, November 23. If you see it (when you see it), carry a red flower in your pocket. Here I can tell you.
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