“I owe France a lot, at least three quarters of my career,” says Andrés Marín (Seville, 1969) in a reserved of his Hotel de Nîmes, while he comes in heat with a cup of coffee. “I have been in Japan, in America, but France has a system of theaters that bets on culture, with very well mounted infrastructure and a very clear sense of co -production. The difficult thing is not to start and give the ball, but stay 30 or 25 years, reinventing you. ” That same France, specifically the Flamenco Festival of Nîmes, which celebrates its 35th edition, wanted to dedicate a special schedule to the dancer in recognition of its entire career.
The feeling is reciprocal: Marín found from the beginning a conducive field to develop his speech, motivated by the search and daring outside the flamenco orthodoxy. He was acclaimed there before in his country. For the artist, “the public here is more respectful. Although it cannot be generalized, it has nothing to do with the Spanish public and especially Sevillian, which is very chauvinist and wants to know more than the dancers. Everyone sings, dances and touches the palms, but this is a profession. The people here are more open and receptive. And in the direction positions you do not see a trace of lordship, something that in Spain is still in force. Here they listen and let work, it’s about accompanying the creator. ”
Flamenco is in Marín’s life since he has reason. His mother sang and his father was also dancer, although he remembers that he tried to make the steps always different from how he did them. “Your father is always in you, but you have to make your own way. My father understood the Soleá, the continued, a piano ballet, the recognizable codes, but did not understand my intentions. I aspired to a new architecture, make my own puzzle. ”
Flemish teacher
He left school in 7th of EGB, “because I was not interested what they told me there,” but he proudly ensures that flamenco has been his teacher, the same that has opened the doors of poetry, painting, contemporary music and many other sources he has drunk with full hands to shape his work. “I have joined with people who knew more than me. José de la Tomasa or Juan El Lebrijano always came to my house, but I have also felt welcomed by Bartabas of the Equestrian Theater Zíngaro, by César Camarero, by Sánchez Verdú, by Alberto Carretero, by Llorenç Barber or Rodrigo García.
Inspired by the great masters of modernity in the flamenco dance, from Vicente Escudero (to which he dedicates his straight assembly and alone), Antonio el dancer, Antonio Gades or Mario Maya, he made his way with shows as beyond time, premiered in The Maison of the Danse de Lyon, asymmetries, avant -garde Me . “I am not a showman, I do not dance for the public, I am uncomfortable. I move in a more cerebral record, already more raw. I am aware that between a white clown and a color, people will always pay more attention to the second, but the white has a more distant humor. I am very interested in that, like the classics of silent cinema and German expressionism, Marcel Marceau, Buster Keaton, Chaplin, that form of expression. ”
That, even if he is often considered a cold, little emotional creator: “Stories are not to excite, but to tell what you want to tell. I think that melee rubbing is somewhat more raw, more animal. What is emotion? Only the Baroque? Isn’t Manolete exciting us in bullfighting? Ice, don’t you burn? What has a story is to be well narrated, and from today. The spectator’s problem is that it is not trained from where we count, and makes a rereading of the past so as not to get lost. But our work is to lose ourselves. If I didn’t miss, I wouldn’t be in this. From there, to lose yourself to meet you again, things come out, not the preheos codes. I can’t repeat something I already did, I can’t paint the same picture. ”
Outside the market
Its red line, in this sense, is clear: “For commercial, for market concessions, it does not pass. I must do what I do, and not to enter the conventional market, in the fashion market, or tiled. I don’t want to go in any team, I’m lonely. I am an anti -system dancer: if the system goes around, I go on the other hand. ”
“People like commercial and easy things,” Marín continues. “I am able to have you stop half an hour with two steps, and you may get up and say: ‘Look, Andrés, you will endure you and your grandmother’. I am radical, and the day that is not, I leave this. If I do a show and like all audiences, I retire. ”
For the Sevillian, “none of my shows has been a sales success, but I know they will stay. And they have gone to the indicated sites, to Lyon, to Montpellier, to Chaillot, to the central, important places of contemporary dance. They may like it or not, but there is a level and there is nothing free. And I’m still strong, I feel good, now I don’t have new projects, but I know they will come. ”
Being understood or misunderstood is something that does not take away the dream: “Reading some criticisms I feel disagree, as I have trouble identifying with some things that are done now, where the shows are musical, everything is Guirilandia. There is no abstraction, there is no search for freedom. Today’s flamenco is based on Instagram, everything goes through the visual, and has less depth than a can of anchovies. ”
#Andrés #Marín #Bailaor #anti #system #day #show #likes #audiences #retire
