MARCOS FLORES
Marcos Flores, flamenco dance, creation and stage freedom
Marcos Flores builds his work around flamenco dance and a contemporary view of stage creation. His approach starts from a knowledge of compás and tradition, but sees flamenco as a living language, capable of dialoguing with different disciplines and evolving through the experience of each performer.
On stage, dance becomes a form of conversation with the music. Technical precision, musicality and the search for a personal expression are elements that define an understanding of flamenco in which tradition and creation do not appear as opposing paths.
Dance connected to the music
The relationship between dance and music is central to the way he works. Flamenco requires constant listening to the cante, the guitar and the percussion, and that listening is what allows every gesture and every cierre to be part of a shared structure.
This conception of dance favors a flexible interpretation, able to adapt to what happens live and to find room for improvisation without losing the architecture of each palo.
Marcos Flores at Tablao La Carmela
The format of Tablao La Carmela allows this relationship between music and movement to be perceived with particular clarity. The closeness of the audience and the absence of distance between artists and spectators turn every dance into a direct experience.
In this context, the dancer’s personality is built not only through choreography, but also through his ability to react to the cante, converse with the guitar and make use of the silences and changes of intensity that appear during the performance.
Tradition and evolution on stage
Flamenco rests on shared codes, but each performer transforms them through their own experience. In Marcos Flores’ dance, that tension between roots and evolution is part of the stage language.
His presence in a tablao puts the focus on what defines live flamenco: compás, listening, personality and creation that happens in front of the audience.
