Rocío Molina: Al fondo riela (Lo Otro del Uno)
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2 performances
29.3-30.3.2023
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Duration
1 h 10 min, no intermission
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Venue
Erkko Hall
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Tickets
48–22 €
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2 performances
29.3-30.3.2023
-
Duration
1 h 10 min, no intermission
-
Venue
Erkko Hall
-
Tickets
48–22 €
-
Performances
29.3. at 7 PM
30.3. at 7 PM
Duration 1 h 10 min, no intermission.
The iconoclastic choreographer Rocío Molina has coined her own artistic language based on a reinvented traditional flamenco style which respects its essence, but embraces the avant-garde. Radically free, she combines in her works: technical virtuosity, contemporary research and conceptual risk. Unafraid to forge alliances with other disciplines and artists, her choreographies are unique scenic events based on ideas and cultural forms ranging from cinema to literature, including philosophy and painting.
Dance House Helsinki presents the second part of Molina’s trilogy Trilogía sobre la Guitarra dedicated to the guitar. Al Fondo Riela (Lo Otro del Uno) delves into the dark side of the human psyche.
All transcendent moments are followed by a dark night of the soul. Beneath the slow passing of clouds, the dark, tumultuous sea rises to engulf everything. Atop it, Rocío Molina dances Al Fondo Riela, the antithesis of Inicio (Uno), the meeting with Lo otro de Uno (The Other). “On stage, I am accompanied by my own ego and two completely different guitarists. Eduardo Trassierra is harmony and technical complexity. Yerai Cortés is natural intuition. Al Fondo Riela is a piece about reflection and the loss of reality, a work where all the ghosts of my past emerge. You have to suffer through it to reach the third part, which will be a liberation.”
Dressed in spartan black, Molina spars with two guitarists. She dances farrucas, seguiriyas, bulerías, soleás, in a constant struggle with her own image, with Lo Otro de Uno (The Other), who forces her down into the depths of all her own fears. Vanity, ambition, pride, solitude… but Al fondo riela (it glimmers in the depths). A trembling light pulsates at the end of the never-ending soleá, colour seeps back into the darkness. The liberation, the Vuelta al Uno (Return to the Self), is near.
The performances are part of the Dance House Helsinki's series of international guests, which brings the most interesting dance groups and artists to Finland. The series is supported by the Jane and Aatos Erkko Foundation and will take place during the opening years of the Dance House Helsinki 2022-2023.
Ticket information
Standard ticket | A 48€ – B 36€
Discount tickets | Alle 25-vuotiaat, opiskelijat, työttömät, siviilipalvelus- ja varushenkilöt: A 28€ – B 22€. Please be prepared to present a certificate entitling you to a discount.
Pensioners | A 43€ – B 33€
Professional ticket | For members of STST and SVÄV: A 29€ – B 22€. Purchase limit one ticket.
Group ticket | Minimum amount 10 persons: 41 €. For group bookings contact: info@tanssintalo.fi
Note: To ensure good visibility to everyone, The Erkko Hall auditorium is steep. Please note that there is no lift to the upper section. Only the first row seats are fully accessible.
Molina weaves a 21st Century dialogue with the past to reinvent a fresh future for the form.
— Wayne McGregor
Biography
Rocío Molina, a versatile dancer, is one of the Spanish artists with greater international repercussion. She was born in Malaga in 1984. She started to dance at the early age of three years old. At seven, she was outlining her first choreographies. At 17, she graduated with honors at the Royal Dance Conservatory in Madrid and became part of the cast of professionals companies with international tours.
At 22, she premiered Entre paredes (Among the Walls), her first work, which was followed by many more self-creations, all of them with a thing in common, a curious and transgressor look at a flamenco style escaping from the well-trodden paths: El Eterno Retorno (2006), Turquesa como el limón (2006), Almario (2007), Por el decir de la gente (2007), Oro viejo (2008), Cuando las piedras vuelen (2009), Vinática (2010), Danzaora y vinática (2011), Afectos (2012) and Bosque Ardora (2014), Caída del Cielo (2016) and Grito Pelao (2018), Inicio (Uno) (2020), Al fondo Riela (Lo otro del Uno) (2020) and Vuelta a Uno (2021), the last three productions being part of Trilogía sobre la guitarra.
Molina has been working with the leading figures of flamenco such as María Pagés, Miguel Poveda, Antonio Canales, Israel Galván, and of the contemporary arts such as Carlos Marquerie, Mateo Feijóo or Jean Paul Goude.
She has been an associate of the Chaillot National Theater in Paris since 2014, and has been invited to most prestigious theatres and festivals around the world – from Avignon to the Barbican Centre in London, to the City Center in New York, the Esplanade in Singapore, Tanz Im August in Berlin and the Stanislavsky Theatre in Moscow.
She has received many awards, including the Spanish National Award for Dance, Best Dancer Award at the Seville Bienal, the Gold Medal awarded by the Province of Malaga, the Max Award in 2015 and in 2017, the Dance National British Award in 2016, Venice Biennale 2022 Silver Lion for dance.
Ms. Molina is one of the greatest flamenco dancers I have seen.
— Alastair Macaulay, New York Times
ARTISTIC CREDITS
Original idea, artistic direction and choreography
Rocío Molina
Original composition
Eduardo Trassierra, Yerai Cortés
Concept development
Nerea Galán
Art direction
Julia Valencia
Scenic space
Antonio Serrano, Julia Valencia, Rocío Molina
Lighting design, animation and projections
Antonio Serrano
Sound design
Javier Álvarez
Costume design
Julia Valencia
Costume making
López de Santos
Hat making
Benjamín Bulnes
Lycra dress making
Maty
Shoes Rocío Molina
Gallardo Dance
Gloves
Guanterías
Program text
Nerea Galán
Team
Dance
Rocío Molina
Guitar
Eduardo Trassierra, Yerai Cortés
Technical direction and lighting technician
Antonio Serrano
Lighting technician
Antonio Valiente
Sound
Javier Álvarez
Stage manager
María Agar Martínez
Executive direction
El Mandaito Producciones S.L.
Production
Danza Molina S.L
Coproduction
Chaillot, Théâtre national de la Danse, Paris; Teatros del Canal – Comunidad de Madrid; Bienal de Flamenco de Sevilla; Théâtre de Nîmes , Scène Conventionnée d’intérêt national – art et création – Danse Contemporaine; Scène Nationale Sud Aquitain
In collaboration with
Teatro Cervantes de Málaga
Supported by
