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Synopsis

The soul of three cities in three Singing Cafés.

Three ways of viewing life from a table at a café. Three ways of catching the spirit of a city through its music. Three ways of seeing flamenco. From the intimacy of Granada to the hustle and bustle of Seville, passing through Malaga and its overseas vocation. From the mountain range of Granada, the coarse fandangos of Güejar and Peza, to the tender style of the Soleá of Triana, and the taranto of el Cojo de Malaga. Earth, water, fire. The intimacy of the closed paradise for many of Soto de Rojas. The delicate and ultraist cosmopolitanism of Isaac del Vando Villar.

The 18th of July, 1936 is not the first day of the twentieth century. It's the last day of the 19th. This is certanly true of modern Spanish history, and is absolutely literal of the flamenco scene. The "jondo" evolves, it grows into a man, in a withered ambience, in the discipline of purity, in the postwar asceticism of Mairena. Left behind is the healthy adolescent promiscuity of the singing cafés where the soleá and the malagueña coincided not only with the Guajira and the "cuplé", but also with the circus, American and French dances, magic, film, musical groups, loose women, and even bullfighting with calves. With the ultraism of Isaac del Vando Villar, the superrealism of Lorca and the neopopulism of Falla.

The golden age of flamenco is an extravagant, energetic, humid, free, spontaneous period. The rigorous canon is far away. There are no heirarchies in genre or gender. The golden age of flamenco in which art, man, is in direct contact with nature.

While Juan Breva sings "with the body of a giant and the voice of a little girl," Lorca and Isaac del Vando write on marble tables. Manuel de Falla abandons for an afternoon his hermitlike reclusion in the "Carmen de Santa Engracia" to remember his friend Debussy in his only piece, barely three minutes, composed for the guitar. It's his first composition signed in Granada. He never imagined that his remains would rest eternally in Cordoba, in "Alta Gracia". Just as Lorca never imagined his forthcoming end in Viznar. The Spanish twentieth century, the one that begins on the 19th of July, 1936, is one of cultural diaspora, of physical or moral death. Massive death, systematic death, Aushwitz or Guernica.

1936 is therefore the time of this show. The year that Lorca is executed. The year Falla turns his eyes inward toward the Victorian darkness to escape the oppressive reality, the death of the author from Cadiz. The year del Vando Villar, during a sales trip to San Sebastian is surprised by the military uprising in Madrid, where he stays during the entire conflict, eventually abandoning poetry as an heroic act.. The year in which the last singing café closes, the Kursaal in Sevilla.

Juan Vergillos

Credits

Première in the XIV Bienal de Flamenco de Sevilla
October 7th, 2006. Teatro Central


PROGRAM

Café Kursaal
A night of hell

Café de Chinitas
Paradise closed to many

Café Suizo
Haven accessible to few


COMPANY

dance Andrés Marín
guest singers José Valencia, Segundo Falcón
guitar Salvador Gutiérrez
piano Pablo Suárez
percussion Antonio Coronel
lighting Francis Mannaert
sound Rafael Pipió
recorded voice Pepe Marchena


PRODUCTION CREDITS

dramaturgy Salud López, Andrés Marín
choreography Andrés Marín
choreography in "trilla y martinete" Salud López, Andrés Marín
assistance choreography Salud López
scenic direction Salud López, Andrés Marín
artistic direction Andrés Marín
musical direction Salvador Gutiérrez, Andrés Marín
music in "Habanera en el sol" Antonio José Flores Muñoz
music in "Café Suizo" Juan Antonio Suárez García "Cano"
lighting design Francis Manneart
audiovisuals Yvan Schreck
documentation Juan Vergillos
visual documentation Laia Muran
executive production Andrés Marín
distribution Andrés Marín Flamenco Abierto S.L.
production Andrés Marín / Junta de Andalucía, Consejería de Cultura / Arte y Movimiento, S.L.
collaboración Lugar de Creación endanza zona B
thanks to Jose Antonio Canales Rivera, Cécile y Loren, Humberto, Noemí Martínez Chico, Thome Araujo
duration 1hr 25 no intermission

Tours

DateShowCityTheatre
Oct 07, 2006EL ALBA DEL ÚLTIMO DÍASevilla (ES)Teatro Central
Jan 25, 2007EL ALBA DEL ÚLTIMO DÍANîmes (FR)
Mar 26, 2007EL ALBA DEL ÚLTIMO DÍAGranada (ES)Teatro Municipal Jose Tamayo
Apr 11, 2007EL ALBA DEL ÚLTIMO DÍAMálaga (ES)Sala Cánovas
Oct 04, 2007EL ALBA DEL ÚLTIMO DÍACréteil (FR)La Maison des Arts de Créteil
Oct 09, 2007EL ALBA DEL ÚLTIMO DÍAMaubeuge (FR)
Oct 11, 2007EL ALBA DEL ÚLTIMO DÍABayonne (FR)
Jan 16, 2008EL ALBA DEL ÚLTIMO DÍAMontpellier (FR)
Jan 18, 2008EL ALBA DEL ÚLTIMO DÍAPerpignan (FR)Salle Charles Trenet
Feb 28, 2008EL ALBA DEL ÚLTIMO DÍAJerez de la Frontera (ES)Teatro Villamarta
Apr 05, 2008EL ALBA DEL ÚLTIMO DÍAFuenlabrada (ES)Centro Cultural Tomás y Valiente
May 22, 2008EL ALBA DEL ÚLTIMO DÍAAnnecy (FR)Théâtre Bonlieu
Feb 03, 2009EL ALBA DEL ÚLTIMO DÍAFoix (FR)L'Estive Scène Nationale de Foix
Feb 11, 2010EL ALBA DEL ÚLTIMO DÍASevilla (ES)Sala Joaquín Turina
May 04, 2010EL ALBA DEL ÚLTIMO DÍANarbonne (FR)Théâtre Narbonne
May 06, 2010EL ALBA DEL ÚLTIMO DÍASceaux (FR)Sceaux Scéne Nationale les Gemaux
May 07, 2010EL ALBA DEL ÚLTIMO DÍASceaux (FR)Sceaux Scéne Nationale les Gemaux
May 08, 2010EL ALBA DEL ÚLTIMO DÍASceaux (FR)Sceaux Scéne Nationale les Gemaux
May 28, 2010EL ALBA DEL ÚLTIMO DÍAChalon Sur Soane (FR)
May 28, 2010EL ALBA DEL ÚLTIMO DÍA (FR)Espace des Arts

Press

EL MUNDO 03/01/2008
"...one of the key moments of the evening: the merging of Valencia's seguiriya and the colossal dancing of Andrés Marín. The glory of this art was consummated through union of the power of the voice and the intellectualness of the dancing... Marín creates music with his feet and surrealist poetry with his body."
(Manuel Martín Martín)


DEFLAMENCO.COM 01/25/2007
"Andrés Marín's genius, and the high quality of the elements he has brought together for this work, yield a creation firmly anchored in the most classic sort of flamenco while sporting an absolutely contemporary image."
(Estela Zatania)


EL CORREO DE ANDALUCÍA 10/08/2006
"Last night we saw and heard the best show of this Bienal...Andrés Marín is a dancer that knows"cante" (flamenco singing), guitar and Andalusian music, like no other. This is what makes him create wonders, like the one we saw last night. An innovative work, full of artistic details, with the two best singers Seville has to offer at the moment, (Second Falcon and José Valencia)."
(Manuel Bohórquez)


EL PAÍS 10/09/2006
"Andrés Marin knows traditional flamenco but stays away from its mimetic interpretation and drapes it in contemporary clothes. It's elegance and sobriety in a geometric dance that bares itself in search of its essence."
(Fermín Lobatón)


ABC 10/08/2006
"Andrés Marin's dancing is geometric...his footwork is clean and solid. And the best are the "remates" in rhythms such as the "solea of Triana" and the "bulería".
A beautiful show and a magnificent result from these six men alone before nostalgia."
(Marta Carrasco)


DIARIO DE SEVILLA 10/08/2006
"Andrés baile mucho y muy bien en su estilo... sus posturas, sus brazos, el cruce de sus piernas y sus giros tienen el aire de bailaores antiguos como Miracielos, el Estampío, Antonio Bibao. Estuvo estupendo en las seguiriyas, en los tangos, y en el baile de trilla..."
(Rosalía Gómez)


EL MUNDO 10/09/2006
"...without a doubt, the best dance debut of this Bienal"
(Manuel Martín Martín)


DIARIO DE SEVILLA 10/16/2006
"Balance of the XIV Bienal de Flamenco. BEST DANCER: Andrés Marín"

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