the journey to nowhere

It’s a show gloomy. The light, neat and scarce, turns the scene spectral. But I’m not talking about light. Not only. The proposal can be interpreted as a danced, played and sung reflection on speed. It is an endless race. The dancers are sometimes soldiers, other times puppetsother fair dolls. wander and they run at full speed, and they do not know where they are going. They are machines. Machines that exhale, that exude. Machines that suffer?

It is not known. There is no emotion in the scene, except in some passage where the character, overwhelmed, reminds us of the Chaplin of modern times, caught in the gears of the great machine. What machine is this? I think I’ve heard that it’s a play about dancing. But it doesn’t matter what it is, because it can be extrapolated to the entire contemporary machine. The work is a frenzy. Very physical. Delve into the dynamism of the most rhythmic styles, tangotanguillos, bulerías, etc. Especially, the tanguillo is in this work a paradigm. A frenzy without a solution of continuity. There is no room for lyricism, for breathing. For sorrow or joy. Not even in the tangos, which stylize the traditional choreography to the point of parody. Not even in the hand in hand between Guerrero and Dani de Morón. Hence the bleakness of the proposal since it does not offer an outcome, a solution. The end connects with the beginning and this is non-stop.



The physical work of the interpreters is brutal. Of percussion, of course, that does not stop throughout the proposal. But also of corporal expression. And not only of the bailaores. We already know that the guitar of Dani de Moron he is muscular to the highest degree, which is why his work, both as an interpreter and as a composer, adapts perfectly to the performer, to the work.

With those epic passages, full of riffs bright, so characteristic of the guitarist. Also Agustin Diassera he is a versatile and very physical musician, who underlines the dynamism of the work. Amparo Langares sings the most dreamlike passages and of new creation and Sergio Gomez The Coloraomostly, lyrics and melodies from the tradition that are presented here polished, stylized, full of color, like the choreographies themselves.

Each one of the bailaores is a soloist and, within a choreography that tends towards the mechanical, as I say, they have personalities very marked, from the pure physical attributes to the interpretation styles, as seen in the steps to two and in the moments of individual lucidity.

The choreography stylizes the tradition to take it to levels of expression that connect with the current sensibility, very electric, mechanical, cybernetics, with nods to folklore. There is no lack, as it could not be otherwise in the current flamenco scene, of some element of ingenuity such as canes attached to the head or hat-masks. Sometimes, the races on the scene reminded me of the story of the man who runs without stopping and someone asks him: “why do you run?”, “I’m looking for happiness” answers the runner. “It’s impossible for you to reach her like this since he’s coming after you.”

the journey to nowhere