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SEVILLE'S BIENAL DE FLAMENCO
2002. 'MÁS ALLÁ DEL TIEMPO'
That strange being in stark black
Silvia Calado Olivo. Seville, September 17th, 2002
Photos: Javier Hurtado
'Más allá del tiempo'. Artistic director :
Andrés Marín. Musical director: Andrés Marín,
Juan Requena, Antonio Suárez Canito. Dance: Andrés Marín,
Mercedes Ruiz, Adela Campallo. Cante: Pepe de Pura, Londro, Encarna Anillo. Guitar:
Canito, Juan Requena. Bass: Juanmi Guzmán. Clarinet: Javier Trigos. Accordeon:
Rafael Álvarez. Percussion: Antonio Coronel. Viola: Alejandro Garrido.
Lighting design: Dominique You. Teatro Lope de Vega. Seville, September 17th,
2002. 11:00 p.m.
With the curtain not yet raised, we become Enrique el Mellizo who paused to
hear the liturgical chants which he later molded into malagueñas. Andrés
Marín represents the butcher from Cádiz, anxious to find the parallels
with his particular way of feeling the dance. Posed, angular, unhurried. And just
like that, he disappears into the darkness. Without leaving the territory, the
group, without him, gets into verdiales. Plucked bass, palmas, cajón,
Encarna Anillo singing, Londro singing, Adela Campallo and Mercedes Ruiz dancing,
both of whom incidentally, are taking part in the finals of the dance contest
for young artists. A pre-ending in which they shared rather than competed. The
pas de deux impeccable on an individual basis, but choreographically unsubstantial,
perhaps even passé. As they fade away, he emerges from the shadows (as
aesthetically handy as it is nightmarish for photographers). Soleá por
bulería. Guitar, viola, cante. And each note sketches, releasing the brushstroke,
loosening the movement. That strange being in stark black is also the music. It
cuts, brakes, tears. A minimum of elements, sparse to the point of frustration,
and undeniably knowledgeable about the depths….that appear when they appear.
Well-rounded and precise footwork, impeccable technique, more music than many
others, having a good time, harmonious, abstract.
Andrés Marín
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Adela Campallo and Mercedes Ruiz
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A digression. A saeta. A digression. Stravinsky's 'Elegía' over a metal
background…and Andrés Marín in procession with a Spanish shawl
(?). Everything appears about to die. Mercedes Ruiz, wearing a short bata de cola,
arrives to the rhythm of peteneras to collect the shawl which ends up on the floor.
A new break in Marín's story line. The woman sings sounding suspiciously
like Estrella Morente. The woman from the Jerez dances, exuding femininity, light,
and nothing else. Then more ruckus when the man reappears…to seguiriyas.
The frozen pose, the austere male reducing his movements more and more. And he
elicits cheers and and even smiles…because he really knows how to play up
to the audience. And he also provokes disapproval because it's too personal to
be swallowed, or who knows for what reason… Nostalgically, 'Más allá
del tiempo' approaches the finale. It does so with tientos which come out of tangos.
First, the female duet. Afterwards, both women with Andrés Marín.
And the way the tangos is resolved is noteworthy, a style that is always indigestible
for the young dancer, as explained by Manolo Marín (who is not his father).
Distanced from curves, the hips, the mannerisms, all make the tangos metallic,
sharp, pungent, reveling in its own economy of movement, with its sudden effects,
with its personality…that which, against all odds, was for the most part
understood, to such an extent that it was necessary to respond with a bulerías
encore…Andrés Marín style.
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The other side of the story
That the Seville dancer's show should have ended as it did was a miracle. It
was nearly one o'clock in the morning when the Teatro Lope de Vega went to bed,
and those who exited the theater had been there since nine at night. The organizers
had the bright idea of programming two for the price of one: the guitar contest
finals (in which Niño Seve, Eduardo Trasierra, Miguel A. Moral and Daniel Méndez
participated), and Andrés Marín's show. As if the dancer from Seville did not
deserve his own slot to offer his work…however far out or new his first work with
a company of his own might have been.
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