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Marcos, why do you say that “I seldom feel good dancing”?

M. F. Honestly, you always get nervous for work, you always have that sense of responsibility. And I think I might feel better tackling the other responsibility, that of directing something for yourself; it's a challenge. I want to work out that question all we artists have about whether it'll work, if you'll be understood.

	'Dos en Compañía' (Photo: Daniel Muñoz)

You've both worked with all kinds of companies and projects. What lessons have you gotten out of those experiences?

M. L. In direction, as well as in baile and choreography, you learn a lot anywhere. More so from within, because you see the entire process; how things are begun, how it's staged …

M. F. On surrounding yourself not just with bailaores but also dancers, you get enriched a great deal because they teach you other fields that we flamencos sometimes don't know. It's not that we're trying to be contemporary or anything like that, but rather flamencos with a more open vision. We can learn a lot from contemporary dancing with regards to choreography and staging.

Together with Rafaela Carrasco, you danced wearing a bata de cola. How did you feel in that role?

M. L. At first it shocks you, but then if you really feel it, why do you have to limit art? In that case we were being directed, but the truth is I support the initiative because many years ago women danced dressed in trousers, and why not the other way around?

M. F. When we got down to working on it and learning the technique, you challenge yourself to learn such a beautiful form of art.

How do you define your show?

M. L. I don't think it's so progressive.

M. F. More than differentiating ourselves, we want to feel ourselves.

M. L. We haven't set any limits, neither because something's going to be out of context, nor because something's not going to be the way it used to be. It simply came from the soul and we added it.

M. F. You've got to bear in mind that Manuel and I are bailaores. We haven't had another discipline. It is true that we've seen things, that we've studied.

Manuel Liñán (Photo: Daniel Muñoz)

Do you see there's restlessness among people from your generation to put forward new things?

M. L. I think everything's becoming much simpler. Perhaps no sense has been found in so much racking one's brain. If the things coming out look new, great, but if they're far-fetched … is when you're going to put your foot in it. And that makes you reflect and remember where you come from. You've got to think about enriching yourself from everything and making it materialize.

Do you have any clear references?

M. L. Everybody contributes to me, both from flamenco and contemporary dance. I can't say I have an idol because everyone teaches me and gives me information.

M. F. And they can be from great figures to your own buddies.

What prospects do you have with this project?

M. F. It's hard to move, but we're going to try everything.

And meanwhile, are you continuing collaborations with other companies?

M. L. We're already tied up in another production I'm directing with Olga Pericet, ‘Cámara negra’, which we'll premiere in September and which Marcos Flores and Daniel Doña take part in. It's another broader vision, another also really interesting concept.

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