Sara Baras, bailaora. Flamenco interview

“I want to flee from all that is material
and get directly down to the feelings”

Silvia Calado. London, February 2006

Sara Baras closes off the triangle. ‘Sensaciones’. ‘Sueños’. And ‘Sabores’. The third ‘S’ reaffirms her leaning toward unscripted shows, consisting only of choreographed flamenco pieces, and with simplicity in her choice of aesthetics. The Cadiz-born bailaora wanted to pay tribute to her first teacher: Concha Baras, her mother. And, while she's at it, the maestros she considers were a positive influence rather than a hindrance to her approach. The conversation held with the artist in the dressing rooms of London's Sadler’s Wells, reflects her total satisfaction with this new project in which she stakes her claim to freedom of enjoyment: “Here I feel well-prepared, and hold more sway.” And that comes with time, thousands of ovations and “having worked with other theater directors.” Perhaps that self-assuredness is what drove her to take responsibility for everything in this project: she directs, dances, choreographs, designs the wardrobe, and is responsible for the mise en scène and lighting. “I have my own approach to flamenco.” And that approach brings entire audiences to their feet, as it did at the Théâtre des Champs Elysées in Paris, where she launched ‘Sabores’, and where Carmen Amaya once returned the price of an invitation to dine - in flowers.

Sara Baras (Photo: Daniel Muñoz)

How was ‘Sabores’ conceived?

‘Sabores’ was, perhaps, the freest project of all. We did just what we wanted, what came from within. Of course our starting point was a desire to savor flamenco, and so you have to recall all of the past masters, all of the artists that went before. And in my case my greatest influence is my mother, and that's why we dedicate this project to her. I don't know what will happen now, but with the experience of ‘Sabores’ it's all been worthwhile. Just to see the impression it made on her and the satisfaction she took from it, I couldn't have imagined.

And what is Concha Baras's vision of flamenco like?

I think when you start dancing and you begin fishing around to create a more personal style, there are people that agree with that and people that don't. I consider myself a very respectful person and I also like to listen to those that don't agree. And Concha always sees the positive side of everything. I want be on the right path, although I'm not going to set boundary lines for myself as I want to do what I feel. The passion and the love with which she views flamenco is the main thing - she doesn't care, she likes to see someone with talent, with arte. And she always reminds you of those moments: that soleá from ‘Juana la Loca’, the arm movements that Sara did... I've listened to her so many times, that I wondered what would happen if we brought together all the details she always drew my attention to. Concha is a true flamenca - as an aficionado she shines, and as a teacher also. That's how we started the search to round off the trilogy of ‘Sensaciones’, ‘Sueños’ and ‘Sabores’ - sensations, dreams and flavors - three concert-type shows without a storyline. And I had to have the same freedom that I had with the previous ones. Although it's true that when I told people I was doing those shows, they looked at me as if I were insane. And I wasn't doing anything unusual. Perhaps it was a little ground-breaking because I danced a farruca and normally women don't dance that, but I saw those as really minor details.

What's the difference between ‘Sabores’ and the previous productions?

	Sara Baras on 'Sabores' (Photo: Daniel Muñoz)

Here is when I feel well-prepared, and hold more sway. ‘Sueños’ was premièred in 1998, and since then we've had two years of ‘Juana la Loca’, two years of ‘Mariana Pineda’... And I learned so, so much with Luis Olmos and with Luis Pascual - I learned a lot playing those strong characters. That's what made me say: I want to dance, I want to enjoy myself, I want to dance the way I feel right now. I started off thinking how I'd like to dance a zambra. And that's where it all began, it just started to flow freely. My mother gives me her support, as always, although she also corrects me. Both José Serrano and Luis Ortega contribute their own choreographed pieces so that they can feel the same freedom that I had. And they're wild, they give the show a strong identity. But it's true that out of all my shows, this is the one where Sara is most at the forefront, even though she's not always on stage. It's more Sara's style in terms of the dance troupe, in the way everyone makes their entrances and exits... Every little detail is taken care of.

How long did it take to prepare?

Really ‘Sabores’ was quick. During the re-run tour of ‘Sueños’, we were also doing rehearsals for ‘Sabores’. There were things that I pieced together directly on stage. Before the performances I'd be pulling together different segments. From September 2005 onward we focused on the production, for four months at least.

And what sets it apart from ‘Sueños’, another production without a storyline?

Well I shouldn't really say so, but I think it's more fully-rounded and more up-to-date. Perhaps the preparation we put into a different kind of elements is a little more evident, having worked with other theater directors. The approach is different, I like it more. And it's the first show that when we recorded it to correct our errors, the first time we got together to watch it in my hotel room, we loved it. We liked how we were and it's really uncommon for that to happen. I'm so proud of the whole company... I think the difference between this and other shows is the standard of the company. There's a stark contrast between the choreographed pieces of the dance troupe and the solo numbers. Flamenco shouldn't just be the domain of solo performers. I think the show begins on a high note and maintains the rhythm the whole way through. And the fact that it comes out well or otherwise is down to the fact that the basic ingredients, of course, are really good. But sometimes it just isn't the case, or you have bad luck and things don't turn out so well. And it shows because in the season we did in Paris, just like in Barcelona and later here in London, the audience is something else... amazing. Normally they watch Sara. But not here, here they take everything in. And that fills me with pride.

Sara Baras and Luis Ortega on 'Sabores' (Photo: Daniel Muñoz)

And you take responsibility for almost everything: baile, choreography, lighting, mise en scène, director's duties, wardrobe...

Yes, because it was a flamenco show, nothing more. And when we were looking for someone who could do, for example, the wardrobe, I already had it pictured in my mind. When the idea came up to do ‘Mariana Pineda’, I honestly wasn't ready to direct a Lorca play. I'm ready to perform it, but not to direct it. And I think that most people that dance sometimes face that problem. It's not like now that everything's going well for me I just decide to do everything. It isn't that, it’s just that I'm doing a flamenco show and I have my own approach to flamenco. My trademarks can be seen more clearly than in other shows: the form, the cleanness, that simplicity of the mise en scène, using effects like a look, a gesture, a step, the wailing of a cantaor... I wanted to flee from all that is material and get directly down to the feelings.

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