Over the years, step by step and show after show, Chloé Brûlé-Dauphin She has become an essential name in the Sevillian flamenco scene. The Canadian arrived in Spain as a young girl, and many of us have grown up watching her mature, enjoying her personality, elegance, and freshness, often alongside her partner, Marco Vargas. He has not needed to boast of designation of origin or ancestry jondo some to make their way, because they've always had things to say. Now, leaving the stage for once to focus on directing and choreography, they're once again leaving their mark.
Mares is the title of the new proposal that premiered this week at the Central Theater From Seville. A work where theatrical and dance elements are divided almost fifty-fifty to focus on the role of women as community leaders and sustainers of life. The protagonists are Inés, who sees the family home collapse during a storm, and Alma, her great-grandmother, who comes from beyond the grave to help her and remind her where she comes from. Through conversations between the two, photographs, letters, and documents, they reconstruct the family's memory on the ruins of the house.
A sober but effective stage design, very well lit, welcomes the performers in this intergenerational encounter where Ideas such as faith, motherhood and romantic relationships will be confronted.As the two learn to understand each other, they come to understand themselves better, and they do so through multiple registers that range from tragedy to lightheartedness, sometimes bordering (just bordering) on melodrama.
«Although some members of the public need precise labeling of the performing arts products they consume, I love that the flamenco appears in a montage in a natural way, perfectly integrated into the whole, dialoguing and even diluting with extra elementsflamencos »
It should be noted that both Tamara Arias de Saavedra in the role of Alma as Anna Salazar In Inés's, they take on a more than convincing acting role, with a considerable amount of text. In fact, many of us wouldn't have minded at all if they were relieved of the wordplay a bit and tipped the balance in favor of dance. In this sense, Salazar champions flamenco throughout. It's clear that it's not about emphasizing anything; it's her language, a way of being and breathing for her, even when she's tapping her feet to the brothers' beautiful music. Gutierrez, although she's also capable of saying goodbye by singing a toná. Saavedra's Arias, for her part, displays her remarkable talent as an actress, without forgetting to sing and dance with charm.
Although some members of the public require precise labelling of the performing arts products they consume, with the detail of the percentage of flamenco They contain the same amount of fat as saturated fats in canned food., I personally love that the flamenco appears in a montage in a natural way, perfectly integrated into the whole, dialoguing and even diluting with extra elementsflamencos. I'm almost tempted to wonder why there aren't many more theatrical proposals in Spain that incorporate grammar or vocabulary. flamencos. It won't be for lack of interpreters.
After a somewhat eventful premiere on Saturday (an audience malaise forced the performance to be paused), these mares of yesterday and today finally set out on horseback this Sunday, and we can only wish them, well, a long and happy gallop.
Credits
Mares
Central Theater, Room B. Seville
May 15 and 16, 2025
Text and direction: Chloé Brûlé-Dauphin
Choreography: Chloé Brûlé-Dauphin, Ana Salazar.
Cast: Ana Salazar, Tamara Arias de Saavedra
Stage space and art direction: Antonio Godoy.
