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Andrés Marín - bailaor
Andrés Marín is one of the most significant artists in flamenco today. His productions have centered on traditional flamenco and, specifically, on classic flamenco singing (cante); not from a conventional perspective, but through a radical personal vision and an utterly contemporary style. His dancing is considered one of the most innovative in flamenco dance.
Son of flamenco artists, Andrés Marín was born in Seville in 1969. He began dancing as a child alongside his father, but his formation continued autonomously until his professional debut in 1993. Marín travelled the world as guest artist and choreographer in diverse companies and shows until the formation of his own company in 2002.
“Más Allá del Tiempo”, the first show of the Compañía Andrés Marín, debuted in the Maison de la Danse in Lyon and completed more than sixty performances in different countries including such revered venues as the XII Bienal de Flamenco in Seville, the Théâtre de la Ville in Paris, the Festival de Jerez, the Ópera de Lille and the New World Flamenco Festival in Los Angeles. He participated in the festival “¡Mira! in the National Theatre of Toulouse and in “Dance Celebration!”, a live dance gala including choreographers Jiri Kylian, Bill T. Jones and Montalvo, broadcast for the Art Channel from the Maison de la Danse in Lyon. He conducted dance workshops for the Spanish National Ballet and the Andalusian Dance Company.
In 2004 “Asimetrías” debuted with great success within the framework of the XIII Bienal de Flamenco in Sevilla. Once again the show was received by some of the most prestigious European theatres including Sadler´s Wells in London, the Théâtre de la Ville in Paris, the Maison de la Danse in Lyon, and the Latvian National Opera in Riga. “Asimetrías” was featured in the Festival de Jerez and in flamenco festivals of Barcelona, Helsinki, Monterrey, Albuquerque, Düsseldorf and Hamburg. Andrés collaborated with Andalusian performance artist Pilar Albarracín in the video piece “I Will Dance on Your Grave,” displayed in the Reales Atarazanas in Seville.
The 7th of October of 2006 Marín presented “El Alba del Último Día” in the XIV Bienal de Flamenco in Seville, a show which was praised by the press as one of the best proposals of the Bienal. Andrés was named Best Male Dancer of the Bienal by the Diario de Sevilla newspaper. In 2007 the show was featured in the XVII Flamenco Festival of Nîmes, in the 10th edition of Flamenco Viene del Sur in Granada and Málaga and in the Monterrey Flamenco Festival, among other events. During the summer of the same year Andrés interpreted Lorca in “Poet in New York”, a production of the Centro Andaluz de Danza under the direction of Blanca Li for the 8th edition of “Lorca y Granada en los Jardines del Generalife” (Alhambra) with 38 performances and 55.000 spectators. His participation earned him a nomination for Best Male Interpretation in Dance at the Premios Max.
In 2008 the company toured with the show “El Alba del Último Día” in Holland and France, including Montpellier Danse. In Spain the show was featured in the XII Festival de Jerez and the XXIV Jornadas Flamencas de Fuenlabrada in Madrid. In March Marín was invited to participate in "Le Bal de la Rose" an annual benefit gala organized by the Principality of Monaco and dedicated this year to film director Pedro Almodóvar. In April “Asimetrías” was presented in the Teatro Campoamor as part of the Festival de Danza Oviedo 2008. In May Andrés returned as Lorca in the show “Poeta en Nueva York” for 10 performances in the Théâtre Chaillot in Paris.
Marín is currently preparing his next show, “El Cielo de tu Boca,” which premières in the XV Bienal de Flamenco in Seville. He combines his choreographic and artistic activities with the direction of Andrés Marín Flamenco Abierto S.L, his own production office and dance studio located in Seville.
Shows
El Cielo de tu Boca (2008)
Synopsis
In order to say what “El Cielo” is not, we’ll call
it a fantasy. It doesn’t describe events, or even the stirrings
of the soul. But impressions, visions. Audible and tangible deeds.
From the asceticism of “Means,” a mere contemplation
of nature, that is to say, of man, of the physiognomy of his sound
organ. Up to the extasis of “Merging bodies”, the drunkeness
of dissolving into another and into everything. All by way of contemplation,
because it is through contemplation that action and fusion arise.
Following the manner of the renaissance mystics, this isn’t merely a choreographic proposal, but a healing experience (or illuminating, or simply receptive). A revelation, an encounter with our corpus delicti. A revision of the modern “Science of love” which Plato presents in the Socratian dialogues. Give birth to light, be light. Inhabit our light, our darkness. “El Cielo de tu Boca” is an encounter with the body, with our own body, with our internal song and dance. A probe into the depths that will surprisingly reveal that it all begins in our skin, in the roof of our mouths.
The bell is a metaphor that was introduced into our beings, in our eardrums, as flamenco was, through the byzantine culture, in the 5th or 6th century. The delicious scientific mystery that “consumes and allows no pity” arrived to the western world in the Greek modal scales and bronze bells. Through this intimate secret, the art of flamenco has traversed the metaphor of the bell, from is origins in Amparo la Campanera, up to Estampío and his “Zapateado de las Campanas”. Continuing through the “Campana Gorda”, that is none other than Antonio Chacon. “El Cielo” will give voice to this secret...great voice.
If, for a second, we can get the audience not to question what they see, not try to classify and label but simply to feel their own bodies, their skin, the heaven of their mouths (what we feel in the process of creating this piece and during its performance), we will consider our objective accomplished.
Program
Acts:
1. Means (Contemplation)
2. Bell Body (Action)
3. Merging bodies (Inebriation)
4. The body expanded (Dissolution)
Company
Première in the XV Bienal de Flamenco in Sevilla September 22nd, 2008. Teatro Central.
dance Andrés Marín
bells and polyphonics Llorenç Barber – guest
artist
guest singers Segundo Falcón, José Valencia, Enrique
Soto
guitarist Salvador Gutiérrez
percussion Antonio Coronel
artistic direction and dramaturgy Andrés Marín, Salud López,
Santiago Barber, Juan Vergillos
choreography Andrés Marín
assistance choreography Salud
López
musical direction Llorenç Barber, Salvador Gutiérrez
scenic
direction Salud López, Andrés Marín
espacio escénico Santiago
Barber, Salud López
audiovisuals Yvan Schreck
scenography construction Sebastian
Iampietro
documentation Juan Vergillos
lighting design Ada Bonadei
(VanCram)
sound technician Rafael Pipió
executive production Andrés
Marín
production Andrés Marín Flamenco Abierto S.L.
distribution Andrés
Marín Flamenco Abierto S.L. / Agencia Andaluza
para el Desarrollo del Flamenco
duration 1h20 no intermission
El Alba del Último día (2006)
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
Programa
Café Kursal
One night´s inferno
Café de Chinitas
Closed paradise for many
Café Suizo
Open garden to few
Company
Première in the XIV Bienal de Flamenco de Sevilla October 7th, 2006. Teatro Central
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
Press
March 1st, 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, El Mundo
January 25th, 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, deflamenco.com
October 8th, 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 Correo de Andalucía
October 9th, 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, El País
October 8th, 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, ABC
October 9th, 2006
“… without a doubt, the best dance debut
of this Bienal.”
Manuel Martín Martín, El Mundo
October 19th, 2006
“Balance of the XIV Bienal de Flamenco.
BEST DANCER: Andrés Marín”
Diario de Sevilla
Asimetrías (2004)
Synopsis
Cambiaste el sol por la luna
Y agua dulce por salobre
El mar por una laguna
El oro por fino cobre
Media naranja por una
You changed the sun for the moon
And fresh water for salt water
The sea for a lake
Gold for fine copper
Half an orange for a whole one
Asimetrías proposes the creation of a space
for the development of dance. This space is conceived from an asymmetrical perspective,
blending tradition and the avant-garde, paying tribute to the most authentic
flamenco personalities and styles.
Two guitars and three voices present the different images Andrés Marín interprets
on stage, where the search for the conflict inherent in the flamenco spirit lies
latent in its essence.
Various instruments venture to complete the musical vision
Andrés has of his
show, including non-traditional instruments such as the trompet.
Asimetrías represents the search for an artistic protrayal of the different visions
of man concerning the same act. Andrés looks to the past with the breath of the
first creation. From there, his dancing is born.
Program
METALES (seguiriya y martinete)
Metales, the first piece, develops through a Siguiriya and various Cantes de Fragua (Songs of the Forge), orchestrated with guitars, singing, percussion and metals. Andrés dances on a sheet of steel, ending with a Martinete in which the percussion of the dance recreates the sound of a forge.
ESPEJISMO (milonga)
A Cante de ida y vuelta – a style of singing with a South American flavour –changes the emotional atmosphere with the strings of a Milonga.
LUZ DE CÁDIZ (tanguillos)
This Tanguillo, a festive yet little-used style, allows us to enjoy the mischief, sensuality and coquettishness of the three female dancers.
MARCHENA (taranto)
A tribute to the great master Pepe Marchena, who from the darkness of the deep mines, brought to light the joy of the Cantes de Levante (Songs from the eastern provinces).
ALEGRÍA PARA TRES BATAS (alegrías)
Three soulful dance pieces from Cordoba which reflect the beauty of Cordoban Alegrías.
GENERACIÓN DEL 27 (fandango)
Fandangazo. A deeply felt song which expresses the singers’ hurt and pain. Seven fandangos filled with the power of three voices, a duel with loneliness.
Taken from the most celebrated fandangueros in the History of Flamenco, with texts by poets Rafael Alberti, Miguel Hernández and García Lorca, each arranged with their own short melodies.
SOLEÁ Y BULERÍAS
From memory to freedom. From the mundane to the sublime. And the winding road, which whitens, becomes blurred and disappears.
These styles are recreated in a Soleá de Triana, a Soleá de Charamusco and a Soleá de Alcalá.
Más Allá del Tiempo (2002)
Synopsis
“For me, there isn´t a before and after in flamenco, only moments. I believe that flamenco will continue to have its own time insofar as it continues to exist as a living art.”
“Más Allá del Tiempo” is a minimal piece, without a story line; just flamenco singing, guitar, and dance, although memories slip in from my youth, my family and from the traditions of Seville. Old, classic styles have been recollected which were in disuse, and I´ve given them a modern, more musical touch. There are, for example, musical elements from the time when my parents worked in the company of Juan Valderrama: malagueñas, fandangos of Pérez de Guzmán, of Gloria, and Pastora´s tangos. I have chosen saetas y peteneras in honor of my mother who often sang these styles in her repertory. Petenera is a beautiful style that hardly anyone dances. My intention is to look for the sense of beauty in things and not for the effects of force. Force should be interior.”
Andrés Marín.
Sevilla, January de 2002.
Program
LOCO POR SENTIR
Malagueñas /Granaína/ ½ Granaína
RONDA Y MALAGA
Verdiales
EMILIA
Solea por Buleria
SILENCIO
Saeta
Elegia
Igor Stravinsky
Petenera
SIGUIRIYA
NOSTALGIA
Tientos
Tangos
Company
World première in the Maison de la Danse in Lyon, France 15-19 of January, 2002.
COMPANY WORLD PREMIÈRE
dance Andrés Marín
female dancers Ana Salazar, Adela Campallo
singers Pepe de Pura, Londro,
Encarna Anillo
guitarists Canito, Juan Requena
bass Juanmi Guzmán
accordion Rafael Álvarez
percussion Antonio Coronel
viola Rafael Fernández
clarinet Javier Trigos
National première in the XII Bienal de Flamenco in Sevilla
September 17th, 2002. Teatro Lope de Vega.
COMPANY NATIONAL PREMIÈRE
dance Andrés Marín
female dancers Mercedes Ruiz, Adela
Campallo
singers Pepe de Pura, Londro, Encarna Anillo
guitarists Canito,
Juan Requena
bass Juanmi Guzmán
accordion Rafael Álvarez
percussion Antonio Coronel
viola Alejandro Garrido
clarinet Javier Trigos
PRODUCTION CREDITS
artistic direction Andrés Marín
musical direction Andrés
Marín, Juan Requena, Juan Antonio Suárez "Canito"
lighting design Dominique
You
lighting technician Juan Luis Domínguez
sound technician Rafael
Pipió
costumes Fernando Ligero
shoes Menkes
executive production Daniela Lazary
coproduction Consejería
de Cultura de la Junta de Andalucía, Maison
de la Danse/Lyon, Arte y Movimiento Producciones S.L
Press
September 18th, 2002
“Más Allá del Tiempo is a piece conceived
out of a love for flamenco singng (cante), and for flamenco music,
by a dancer so singular that he takes your breath away when he moves
on stage. His technique is impressive, and its development so perfect
that it converts itself into art. It´s the art of knowing how to
utilize all of the elements flamenco puts at his disposal, to create
his own style.”
Manuel Bohorquez, El Correo de Andalucía
September 19th, 2002
“...there were clear references to the past, but with an absolutely
contemporary choreographic language, without ever failing to be flamenco.”
M.M.,
El País
September 18th, 2002
“...A show which proceeded under the sign of good taste and maintained the public´s
attention from beginning to end.”
Rosalía Gómez, Diario de Sevilla
September 19th, 2002
“...Andrés Marín, amply armed with means and ideas, which besides breathing new
life into the internal organization of the styles, have served to concede imaginitive
amplifications to the aesthetics of his time.”
Manuel Martín Martín, El Mundo
January 18th, 2002
“Andrés Marín escapes the populist clichés of flamenco and emerges as an
incandescent figure of modern dance.”
David S. Tran, Le Progres
January 18th, 2002
“(Marín) has denuded flamenco in order to give it back the lustre and authenticity
of its golden years.”
Agnés Benoist, Lyon Figaro
Contact
Nombre:
ANDRÉS MARÍN FLAMENCO ABIERTO S.L.
c/ Divina Pastora nº14 Local
41003 - Seville (SPAIN)
See location on Google Maps
Tlf: 955 115 443 / 637 540 942
E-mail address :
info@andresmarin.es
Links
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