This Wednesday, in Nîmes, Andres Marín and Ana Morales tackled a monument of Italian literature to create an avant-garde flamenco interpretation.
The challenge was… dantesque. By proposing a (free) interpretation of the Divine comedy from Dante to the spectators of the Bernadette-Lafont theater, the dancers and choreographers Andrés Marín and Ana Morales have placed, very high, the cursor of symbolism that is both pagan and spiritual. And risked the translation of a very old work into a resolutely avant-garde show. So much so that the spectator could sometimes feel lost between hell and paradise.
Almost rock scenes danced by Marín and Morales. Together. Then by Ana Morales alone, superb and free.
Among the strong scenes, this man who cuts into thin slices an enormous ham. Then throws them to the two dancers. Pleasure of the flesh, they pick up the meat from the ground, passing it from mouth to mouth in a scene of almost animal seduction. Intense. Later, the decor became incandescent and the flamenco guitar electric. The rhythm, always very present, offers almost rock scenes danced by Marín and Morales. Together. Then by Ana Morales alone, superb and free.
Here, finally, is the same couple buried by the flames. At the end of a piece of bravery, he manages to free himself, climbs a wall of gold (accompanied by an incredible Stand by me on the bass, appearing out of nowhere) and seems to reach heaven. Before a final return to square one. As if Eden were inaccessible.
The show, which ultimately gives free rein to interpretation, provokes the senses. And led to mixed reactions at the time of the salutes: a few boos, a lot of loud applause. Hell and heaven.
