DANCE INVERSIONInternational Contemporary Dance Festival
Choreography, artistic and musical direction
Artistic direction and playwrite with Rocío Molina
Rosario «la tremendita»
Musical direction, composition and arrangements for cante
Original composition for guitar arrangements for trombones
Pablo martin caminero
Composition pour trombones
Original composition of «Mandato» for trombones
Pablo martin Jones
Sound Space Design
Biennale de la Danse de Lyon • festival de Marsellle danse el arts multiples
Chaillot, théâtre national de la danse (Paris) • Théâtre de l'Oliver / Régie Culturelle Scenes et Cinés Ouest Provence
Festival Internacional Madrid en Danza • Mercat de les Flors - Barcelone • Bienal de Flamenco de Sevilla
Théâtre de Nîmes - scene conventionnée pour la danse contemporaine
Ballet National de Marseille • Théâtre de Vilefrance
Rocio Molina, Eduardo Guerrero et Fernando Jiménez
Eduardo Trasseierra, Guitar
José Ángel Carmona, vocals & electric bass
José Manuel Ramos "Oruco", Palmas & Compás
Pablo Martin Jones, Drums & live electronics
José Vicente Ortega, Trombone
Technical staff and production
Rocio Molina's costumes: Josep Ahumada
Stylist: Soledad Sesena
Répétiteur: Oscar Villegas
Video: Gerard Gil et David Fernández
Horse riding advisor: Rafael Hernández
Sound: Javier Álvarez
Lights: Antonio Serrano
Stage manager: Reyes Pipio
Production assistance: Magdalena Escoriza
Executive management: Loȉc Bastos
© Alain Scherer
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 turns enchanting, 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 Ardorа» 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
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 (1h20), 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 Impul-siva » - that Rocío Molina presented in the most diverse and unu-sual 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 aficiona-dos. Yet, the purity of movement, the virtuosity of her « punteados » and « redobles » : everything is there and much more.