“To burn with desire and keep quiet about it is the greatest punishment we can bring on ourselves.”
Federico Garcia Lorca

Warmth. Protection. Love. Light. Wisdom. Vitality.
Danger. Anger. Wildness. Clearing. Penance. Redemption. Ritual death.
We did everything full of desire with the power of fire.

Zodiac’s fire signs are people who have a great desire for freedom, are instinctive and emotionally overheated.
They are energetic, noble and creative.
Just like the passionate female characters of tonight’s dance drama who are driven towards their end by this exact unstoppable passion.

Maurice Ravel: Bolero
„When it comes to desire, the answer is Bolero”

According to a 20-year-old international music survey, Bolero’s soundscape is the best suited to boost our imagination. The implacably catching, clattering melody, heated by smoldering sexuality starts quietly then it is slowly taken over and being adapted by different wind instruments. In the middle spanish castanets turn up too so that the full orchestra continues to build up the tension until the „sudden death”. No emphatic closing chords, only hangs. An endless floating to be resumed at any time. The freezing bolero dancers with their arms raised above their heads symbolize both recoiling and the creature giving itself up in the fight – a woman in love, a man bound by his desires, a bull lead astray by the „liar” wearing a bolero, looking in the eye of its killer for the last time. Yes, bolero definitely has something to do with bullfighting.
The idea of the piece comes from dancer Ida Rubstein who commissioned Ravel 95 years ago and its first choreographer was a woman too, Bronislava Nijinska, younger sister of the famous Vaslav Nijinsky.

Bizet – Schedrin: Carmen
„Song of the flowing blood”

Georges Bizet’s opera, the anthem of passion, desire and death is about an Andalusian gipsy girl who steals an officer’s heart and convinces him to sacrifice his family, rank and honour for her and than turns her back on him for a toreador…
The virtue of the musical framing of the story about longing that supresses the sense of duty and jealousy that leads to murder, is the effective display of deep emotions and dramatic confrontations, eventfullness and spanish temperament. After the opera’s undivided success and through the following adaptations Carmen became the symbol of low-lived women: beautiful but dangerously seductive who give their love away too easily.
Carmen-suite is a one-act ballet created 55 years ago by cuban choreographer Alberto Alonso for russian musician Rogyion Schedrin’s wife, prima ballerina Maya Plisetskaya. Eventhough Plisetskaya previously vainly asked Sostakovits and Hatsaturyan – known as a ballet composer – to create a dance drama from Bizet’s piece for her, they both refused. That is when Schedrin appeared on the scene who was not frightened by the opera’s popularity but aimed to „get as far away as possible” from it.
The Carmen-suite, orchestrated to strings and percussion that operates with unexpected rhythmic turns and subtle changes of chords, is not only a tribute to the great ancestor but the „creative meeting of minds”, a kind of retelling of Bizet’s piece.
Naturally the Soviet culture policy then in being did not share the western critic’s enthusiasm: too much erotica for them.

The House of Bernarda Alba
„Tears in Andalusia”

Garcia Lorca’s last creation, The House of Bernarda Alba, subtitled as „the drama of spanish women living in villages” is the criticism of individual happiness crushed by social fixity. Through the fate of a grieving widow and her daughters Lorca perfectly shows the frowsty atmosphere of supressed desires. Whoever bows to harsh traditions, undertakes eternal misery. Those who rebel against them and call for serenity and happiness, will die. “Those who follow their feelings and desires instead of centuries-old moral codes should not face death or excommunication; however, while the influence of puritan society is this powerful, all individual will and seeking of happiness will be met by pain.” Lorca fought for human dignity, equality, equity and democracy with words, melodies and colours.
The dance piece is sort of a concentrate, the essence and imprint of feelings and thoughts. It intends to show not the story and the characters of the drama but the tension caused by supression and closeness and the nature of turning against one another by the intense power of longing.


“All that has black sounds has duende. These black sounds are the mystery, the roots fastened in the mire that we all know and all ignore, the fertile silt that gives us the very substance of art. This mysterious force, this sacred awe is duende. When the black blood starts to flow from the heart to the body, it is as if one became possessed by a spirit. It emerges from itself to rebuild its spirit from its atoms. It requires and creates a direct relationship between the creator, the receiver and some superior force. It is fed by fundamental question such as those of sin and morality, the fight between good and evil, the existence of God and the Devil. It is always the juxtaposition of opposites, which creates the tension that erupts from the artist. And this eruption is like a volcano. These contradictory forces gather under the surface and the body, in which they are trapped tries to suppress them; however, an internal revolt breaks them out unstoppably. These forces and emotional affects may be compared to love-making, as everything becomes clear and quiet when it is done. The tension resolves and duende evaporates.”
Szeged Contemporary Dance Company created its own duende inspired by Lorca’s spiritual leader, good friend and mentor Manuel de Falla’s music piece called El amor brujo.