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Rocío Molina: Fallen from Heaven (Caída del Cielo)

Part of Dance Umbrella

— ,Barbican Theatre
Rocio Molina dancing

Enthralling audiences with her sublime artistry, technical prowess and searing energy, Rocío Molina strips flamenco down to its purest form: a passionate and exhilarating expression of freedom.

Here the Spanish dancer borrows from feminine, masculine and even animalistic codes to devise a personal performance about womanhood. With her body serving as the focal point, we see a fall with no return, a physically exhausting progression from shadow to light, silence to sound, order to chaos.

Molina’s process for Caída del Cielo began with public improvisations in France and Spain. Taking inspiration from these interactions, her piece is intensely raw and extremely witty. Provocative and playful images emerge as she adopts different guises and inventive costumes, at times alone onstage, at others collaborating with four phenomenal musicians. Molina’s last visit to the Barbican, with Bosque Ardora, proved a hit of Dance Umbrella 2014, earning her an Olivier Award nomination.

Tagged with: Theatre & dance

1 hour 30 mins/no interval

Age Guidance 12+

12 Oct
Talking Amongst Ourselves
BSL interpreted, audience-led post-show talk (artists not present)
Free to same-day ticket holders

Spain

Presented by the Barbican and Dance Umbrella

Produced by Danza Molina SL and Chaillot – Théâtre National de la danse (Paris)

In collaboration with the INAEM.

Creative team

  • Rocío Molina   Co-direction, choreography and musical direction
  • Carlos Marquerie   Co-direction, dramaturgy, design and lighting
  • Javier Álvarez   Sound
  • Cecilia Molano   Costumes

Performers

  • Rocío Molina  
  • Eduardo Trassierra   Guitars
  • José Ángel Carmona   Singing; electric bass
  • José Manuel Ramos 'Oruco'   Hand-clapping and beat; percussion
  • Pablo Martín Jones   Drums, percussion, electronics

Reviews

  • ‘‘Disconcerting and hypnotising’‘
    L’Express (France) on Fallen from Heaven (Caída del Cielo)
  • ‘Reinventing flamenco and dragging it into the 21st century‘
    1843 Magazine on Rocío Molina
  • ‘She is the figurehead of the avant-garde, undoing the boundaries of flamenco by granting herself and her art the utmost freedom‘
    Magazin im August (Germany)
  • ‘‘Unconventional and absolutely compelling … mostly you’re just marvelling at the way she moves’‘
    Evening Standard on Bosque Ardora
  • ‘‘Demure one moment, terrifying the next, unleashing a barrage of steps that seem to come from many bodies, not one’‘
    New York Times on Affectos

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