AL FONDO RIELAc Oscar Romero 017
Show photographer Óscar Romero

Rocío Molina: Al fondo riela (Lo Otro del Uno)

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  • Performances

    29.3. at 7 PM
    30.3. at 7 PM

    Duration 1 h, no intermission.

Ticket sales starts on 18th January at 10 AM.

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.

Lyon Opera Ballet will also be part of the House of Dance's international visiting series in spring 2023.

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.

Photo: Simone Fratini


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

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