ROCÍO MOLINA. ‘CUANDO LAS PIEDRAS VUELEN’
Her wings now fly
S.C. Madrid, May 27th, 2010
Translation: Joseph Kopec
‘Cuando las piedras vuelen’.
Rocío Molina: baile and choreography.
José Antonio Suárez ‘Cano’ and
Juan Cruz: guitars. Rosario la Tremendita and Gema Caballero:
cante. Vanesa Coloma and Laura González: clapping.
Carlos Marquerie: stage directing, stage design and lighting.
Festival de Otoño en Primavera 2010. Teatros del
Canal. Madrid, May 27th to 30th, 2010
Rocío
Molina, 'Cuando las piedras vuelen'
(Photo Daniel
Muñoz) |
Never. Stones, it is well known, are never
going to fly. But… that’s what wings are for.
And that’s just what Rocío
Molina, bailaora, artist, is endowed with. They’re
those extremities, which sometimes can only be seen through
and at others flap furiously, which sometimes fly with precision
and at others buzz around chaotically, which sometimes ride
the perfect current and at others are wetted down, which
make her someone special. That. And the rest can be there
and/or not be needed.
The rapport with Carlos Marquerie is fresh
air for an artist in the process of defining her discourse.
An outside point of view which she will surely end up absorbing
for herself, just as she has done with other strong references
that have helped her. But here the contribution lies more
in the esthetics than in the discourse, more in the form
than in the substance. Or so it seems. And the use of lighting,
overhead cameras, metal floors, boxes for heel-tapping,
cigars, sporty lingerie, the hyper-physical, the hyper-subtle,
stones and live owls and dead owls and stars which reach
down towards the floor, is a wrapping. Symbolic. Contemporary.
But wrapping. Or so it seems.
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Rocío
Molina, 'Cuando las piedras vuelen'
(Photos Daniel
Muñoz) |
Abstract emotion only comes at times. They’re
sensations which come from the invisible strings which sometimes
join the cante and guitar to the bailaora. And, you don’t
know why, many of those strings are broken. Perhaps the
musical-choreographic work is unfinished or it’s missing
a further step of courage or security in order to plunge
into the enriching fracture and avoid standards which don’t
really find their place here. Or perhaps it is simply that
what we’re reviewing here is a dress rehearsal.
And even so… her wings. Rocío
Molina has butterfly, eagle, owl, metal and even earthen
wings. She fights with them very obviously to be a special,
unique artist of her own. And perhaps it’s a useless
fight, inasmuch as, like all other artists, she’s
a matryoshka artist, and uniqueness is at the least and
at the most, admitting your own, the outside, standards,
broken ground, fear, daring, age, the way, the past, the
future. She’s unique… as are all of her wings.
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