Synopsis

AD LIBITUM
Or how I freed myself from my chains

Andrés Marín has always shown a profound respect for tradition, in particular for singing, which he considers the backbone of flamenco. But he repeatedly insists that limiting oneself to ingenuous imitation or mechanical reproduction is to remove the essence of any artistic expression and, ultimately, disrespect the very thing you believe you serve. His flamenco exists in that fragile interstice between the norm and its transgression.

Throughout all his shows, Andrés Marín has developed the most peculiar of personal universes, based on a dance that he performs from a vision of the world on edge, from wounds he now unhesitatingly exposes, just as he exposes his almost naked body.

Now it seems that Andrés Marín has taken another step along this path to freedom, daring all without limits. He, who has always regarded flamenco singing with admiration and humility, dares to sing, and does so very well. His recent work with Bartabas or Kader Attou has led him to constantly question his dance. The profound understanding of all the nuances of this complex art of flamenco is nourished by these encounters that stimulate his praxis and are sometimes like answers to questions he has not yet asked himself.

For Andrés Marín, Ad libitum is dancing to the rhythm of his own will, wholly unrestrained, from total freedom, a subjugated improvisation. And, above all, giving himself fully to the moment, the place, the other, whether this is found on the stage or among the audience. The choreographer lets his body speak, a body that has so much to say and possesses him, breaking the shackles of reason. Deferring to the compulsions of this body and taking it into a dialogue with the inherited and assimilated sediments that are the foundations of a patiently stored knowledge of flamenco.

Andrés Marín has learnt to unlearn and has understood what Antonio Machado was saying when he wrote "Caminante no hay camino, se hace camino al andar" (Traveller, there is no path, the path is made by walking).

This is the concept behind his new show: to construct before us a path on which he invites us to penetrate the depths of the seguiriya or the rhythm of the bulería, offering us his dance as an act of freedom.

Jean François Carcelen

Credits

première Théâtre de Suresnes Jean Vilar FRANCIA, 2014

artistic direction Andrés Marín
musical direction Andrés Marín, Salvador Gutiérrez
choreography Andrés Marín
dance Andrés Marín
special guest singer Segundo Falcón
guitar Salvador Gutiérrez

Tours

Press

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