Rocío Molina sets Valencia on fire from the Teatre Principal

On occasion, many times, one enters the theater hoping to dance and gets up feeling that one has passed through something that should not be easily remembered. Heatingde Rocío Molinait belongs to this territory where the script has to be a place and has to be experienced.

On the brand 39th edition of Dansa ValènciaThe Teatre Principal was transformed into a frontal space where dance had to be a discipline to be developed. Cases dos horas without breathing where everything happens and everything is felt.

The first thing to say, sans rodeo, is this: It’s pure dance and again excellent fusion. This coexistence does not cause conflicts. Concebe libertadova. Molina was no longer allowed to mix, break and eventually cross languages. He does it because he can. Because he treats his body like an unlimited territory.

She is not a dancer. This word is short. She is a Mayan artist. He plays, sings, creates distinctive styles, manages the stage, converses with the audience, guides the internal rhythm of the work and does everything with a naturalness that is disarming.

No exhibition. The presence of hay. This presence supports a spectacle that no one would ever imagine.

Heating part of a simple idea: show the process before the stage. However, this assumption should be translated into something else. On a trip. In a construction where the test turns to the spectacles and the spectacles reveal themselves as a constant act of observation. What could be an intimate exercise is open and shared.

From the first moment, Molina established a direct dialogue with the public. No distance from the wall. Recibe a los assistants bailando. Moose notices. Midnight. It includes its aesthetic logic. Y los despide del mismo way.

This gesture defines everything you will see. Experience is built between all.

The first half hour is a statement of intent. Molina explains how the body warms up. But theory doesn’t do that. Bailando did it. Every move is an explanation. Each repetition is a reward.

The public is witnessing a trial that is rarely seen. Here you have radical honesty. The body is getting ready. If you are listening. If you are concerned. If you require. Dancing looks like workas insistence and method.

This brings together the moments that occur. And there are a lot of them.

Duo with his masterof two frantic lines, condenses a relationship that transcends choreography. Hearts that look at each other, that recognize each other, that speak without displacing each other. Silence turns into action. A minimal gesture achieves an intensity that amplifies the scenario.

There is respect, there is memory, there is transmission. It’s one of those moments where time seems to stand still.

more adelante, The singers inside the crystal cube represent another dimension. The image leads to a recognizable universe with echoes that could relate to a Pedro Almodóvar film. It has a theatricality, a character and an aesthetic that plays with the iconic without coming across as a caricature. The voice tightens and expands at the same time. The scene runs deep.

And in the middle of it all fusion. This is a word that is used in many cases without restriction where it is felt. Molina carries it in his body. According to his style, he would say according to his language: flamenco, classical dance, cabaret, electronic rhythms, percussion, clarinet, visual echoes referring to geometric, popular, contemporary.

They all live together without friction. Everything corresponds to internal logic.

The show is not organized in closed blocks. It moves like a current. Registry change without notice. Pass from intensity to play, from introspection to desborde. During each transit, Molina maintains control. You know where it is. Know what I want. Know how to encourage attention.

Dreamlike virtuosity. Much. However, it never presents itself as a goal. He is in the service of another mayor. The technique will appear when it is done. It is hidden when not necessary. This management of technical progress is one of the keys to the exhibition. The body dominates, but does not impose itself.

Also have a sense of humor. Yes, it is important. Because it allows the piece to breathe. This cannot be translated into sustained intensity exercise. Molina plays with the public, with the situation and with the same advice. This game generates participation and opens up space for discussion within a general need.

The music, for its part, accompanies without invading. Create atmosphere, create rhythms and dialogues. It does not pretend to illustrate. It is part of the entrance. Each sound has a function.

El Teatre Principal responded. The room was kept attentive, involved, present. It is not easy to maintain concentration during this cases two hours into the show which does not follow a conventional narrative. Molina follows him. He does so from the truth of the gesture, from the internal coherence of the proposal.

Heating you don’t have to like it. Tampoco is looking for a provocation. Ask for something more complete: to exist on stage with complete freedom. An act that angers the viewer.

In the context of Dansa València, this piece is in a unique place. Don’t react to trends. Not if it’s in line with fashion. A sign on your fireplace. Yes, if you like it.

I have to admit that this is not the first time I have met him Heating. And I hope it won’t be the last. Why? When Rocío Molina warms you up, something changes. The body feels something else. The view is open. Yeah, don’t come back.