Fuensanta la Moneta (Photo Daniel Muñoz)

And with the patronage of Málaga en Flamenco 2007, she got the chance. ‘De entre la luna y los hombres’ - which will make a stop in a few days at no less than the Teatro de la Zarzuela in Madrid - means leaving the dangerous shell of bailaora-only for the Granada born bailaora. Although that entails visible challenges, risks and difficulties. Which, by the way, she knows how to tackle, solve and even overcome. The undertaking isn’t easy, inasmuch as she has to play women’s roles which are defined not by features, but rather by poetic abstractions. And they are expressed by means of verses by Ángeles Mora and Teresa Gómez, masterfully adapted to different cante styles by Eva Durán. The Málaga-born cantaora shares the weight of the show, inasmuch as she acts as the voice of the star’s conscience … and with some very beautiful performances. They go still beyond those intangible words. Besides in the soundtrack composed by Miguel Iglesias - who transcends the accompaniment in the end -, she’s in the overwhelming stage design work by Hansel Cereza. The artist, the founder of La Fura, has created a surreal space which magnifies the script’s metaphors. And he bases himself on that so Andalusian image of the sheets being aired in the sunshine, to which he adds the use of projected textures in the background and a dreamy video-dance in which the bailaora faces her alter egos. The catch might be that this overdimensionalization of the space, using the full height of the stage, dwarfs the soloist, who has to double up her efforts in order to grow and focus the spectators’ attention. But that danger is only brushed against at certain moments, since La Moneta is enough to be the center. In this show she has the new capacity to be many more bailaoras than the ones she has been up until now. Sensuality, sweetness, pain, strength, violence and weakness are combined in her movements, in her mighty eyes and in the difficult act of walking about the stage, tackling the dramas and satisfactions of those other women who she worries about here. Abandolaos, guajira, farruca, soleá, bulerías and seguiriyas are the forms which her dance... and also her thought take on here, nearly breathlessly.