Such Flamenco Flamenco Spanish Flamenco. Spanish dance and singing art
"Give me Seville, give me a guitar, give an inezile, caustanets a couple ..."
Giovanni Bodie Portrait of Anita de la Ferie. Spanish dancer 1900
In the world there are land where it is breathing non-oxygen, but passion.
Residents of this land, at first glance, are no different from ordinary people, but they do not live like everything. Over them is not the sky, but the abyss, and the sun selflessly burns his name in the hearts of everyone who raises her head. This is Spain. Her children are children of passion and loneliness: Don Quixote and Lorca, Gaudi and Paco de Lucia, Almodovar and Carmen.
Federico Garcia Lorca, one of the most passionate poets in the world, wrote sometime:
"On green dawn to be a solid heart.
Heart.
And on the spoole of the sunset - the straw singers.
Singe ".
This is the whole Spanish soul. Solid heart solid singing. Real, Genuine Spain is Flamenco: Dance, Song, Life.
Flamenco compare with shamanism, with mysticism.
In the dance body and soul, nature and culture are forgotten that they are different: merged with each other, they pronounce in each other. In addition to dance, this is possible perhaps in love ...
Fabian Perez. Spanish dance.
But Flamenco in its essence and sources - the dance is terrible, "deep". On the verge of life and death. It is said that those who survived trouble, loss, wreck can truly dance. The trouble reveals the nerves of life. Flamenco - dance of nude nerves. And accompanies him in the Spanish tradition of Kant Hondo - "Deep singing". Shouting the roots of the soul. "Black sound". As if not completely music.
At the same time flamenco - dance detailed regulated, strict, full conventions, even ceremony.
Valery Cosorukov. Flamenco.
Flamenco - lonely dance. Perhaps the only folk dance in which you can do without a partner. The frantic passion is merged in it with the strictest chastity: the dancer Flamenco does not even accidentally dare to touch the partner. This is a rue, this improvisation require the greatest training of bodily and mental muscles, extremely discipline. Some even believe that Flamenco is not erotic at all. He is dance dialogue, dance-dispute, rival dance between the two principles of life - male and female.
Drag off the partner. Get it to death.
Flamenco transforms, turns into art exactly that in our culture-civilization is as tough, merciless rules of life. Head. Aggression. Rivalry. Discipline Loneliness...
Flamenco - the ancient art of burning dark.
Fernando Botero. Dancer Flamenco 1984.
Some researchers believe that the word "flamenco" comes from the Arabic word FELAG-MENGU, that is, a runaway peasant. Gypsies who came to Andalusia, called themselves Flamencos. Until now, most Flamenco - Gypsy performers (like one of the most famous modern dancers Hoakin Cortes, recognizing: "By birth, I am a Spaniard, and in the blood - Roma").
Flamenko arose at the junction of cultures - here the Arab rhythms, and the Gypsy tunes, and the self-satisfaction of the rogue, which has lost their homeland. The beginning of the existence of flamenco is considered to be the end of the XVIII century, when this style is first mentioned documented. He originated in Andalusia. This is not music, not dance and not a song, but a way to communicate, improvisation.
Connie Chadwell.
Cantaories - Flamenco singers - talking among themselves, guitar argue with them, Baylaora tells their story with the help of dance. By the middle of the XIX century, the so-called cafes were appeared, where Flamenco performed performers. That time was the golden age of Flamenko, the time of Cantair Silverio Francetti - his voice called "Alcarria".
Garcia Lorca wrote about him:
Copper Gypsy string
and the warmth of the Italian tree -
that was Silverio's sinya.
Honey Italy to our lemons
she was in addition
and a special taste gave
his crying.
Scary scream pulled the puchins
this vote.
Old people say - hair moved,
and melted mercury mirrors.
C. Aremsen. Spanish Dancer.
Joan Mackay.
Arthur Camph. Flamenco dancer.
Brusilov A.V.
Hajayan. Flamenco in Seville. 1969.
Dancing in Seville Carmen
at the walls, blue from chalk,
and frying pupils from Carmen,
and the hair of snow-white.
Bride
close the shutters!
Snake in hair yellow
and as if out of the distance,
dancing, faithful
and I have love long ago.
Bride
close the shutters!
Deserted yards of Seville,
and in their depths of evening
andalusian hearts are shot
tracks forgotten thorn.
Bride
close the shutters!
John Singer Sarjent Haleo 1882
George William Apperley. Andalusian rhythms.
Blue blackberry
for reed pilas
i inscribed in white sand
its resin braids.
I drove the silk tie.
She scattered out.
I removed the belt with Coburo,
she is four cups.
Her jasmine leather
glowed with pearls warm
tenderly lunar light
when it slides on the windows.
And hips are rushing her
how caught trout
then the lunar cold was shallow
that white fire burned.
And best in the world dear
before the first morning bird
i was silent this night
satin mare ...
Someone who will hear a man
indiscriminate
and I will not repeat
words that she whispered.
In grains and kisses
she went at dawn.
Daggers of trephy lilies
the wind fell in the wind ...
Nina Ryabova-Belsky.
Pavel Svyutsky. Spanish dancer.
Daniyel Gerhart. Flamenko.
Vilyam Merrit Cheyz. Karmensita 1890.
Daniyella Foletto. Flamenko.
SERGEY CHEPIK. Flamenko 1996.
Fabian Peres. Duende.
Huatt Mur. Flamenko v Golubom.
Klaudio Kastelucho. ISPANSKIY TANEC.
Fletcher Sibtorp. Fuego Blanco.
GRIGORYAN ARTUSH.
Soldatkin vladimir. CARMEN.
Pino Daeni. Tancovschica.
The inspirational "Olé" is heard from all over the corners, and the audiences sing with artists and clap your hands, creating a unique rhythm of the songs for a beautiful woman, who spontaneously spinning in the dance. This is exactly what a typical evening in "Peña" Flamenco is passed. It is an opportunity to see your own eyes as people, forgetting everything in the world, are given to the power of music, rhythm and passion. What is flamenco? How did it appear in Spain? And what dress is considered classic in Flamenco culture? We will respond to these and many other questions in our material dedicated to this beautiful art of Southern Spain.
When and how the art of flamenco
Flamenco appeared together with the arrival of Gypsies from the Roman Empire in 1465. For several decades, they peacefully lived near the Spaniards, Arabs, Jews, Slaves of African origin, and over time, a new music began to sound in the caravans, which entered the elements of the cultures of new neighbors. In 1495, after a long war, Muslims, many years of rulers of the majority of the peninsula were forced to leave Spain.
From this point on, the persecution began on the "dismissal", namely, the diseases. Anyone who adhered to other religions and culture should have abandoned the original habits, their own names, costumes and a language. It was then that the mysterious flamenco originated, the kind of art, hidden from prying eyes. Only in the circle of family and friends "Extra" people could dance under favorite music. However, the artists did not forget about their new acquaintances, also excluded from society, and in the music of the nomadic people, melodic notes of Jews, Muslims and peoples from the Caribbean coast were heard.
It is believed that the influence of Andalusia in Flamenco is expressed in sophistication, dignity and freshness of sound. Gypsy motifs - in passion and sincerity. And Caribbean migrants brought unusual dance rhythm to new art.
Flamenco styles and musical instruments
There are two basic style flamenco, inside of which they are standing out littered. First - Hondo, or Flamenco Grande. It includes these litters, or in Spanish Palos, like tone, salts, sarate and sygriev. This is the oldest view of Flamenco, in which the listener can allocate sad, passionate notes.
Second style - Kant, or Flamenco Chico. It includes Alegria, Farruca and Bulia. It is very light, cheerful and fun motives in the game in the Spanish guitar, in dance and singing.
In addition to the Spanish guitar, the music flamenco creates casstans and palmas, that is, cotton in your hands.
The castanets are reminiscent of the seashells interconnected by a lace. Left-handed a dancer or singer beat the main rhythm of the work, and right - creating intricate rhythmic patterns. Now the art of the game on Castagnetas can be learned in any school flamenco.
Another important tool accompanying music, is palmas, cotton. They differ along the bells, duration, rhythm. Without cotton, it is impossible to imagine any representation of flamenco, as well as without screams "Olé", which only give the uniqueness of the dance and song.
Classic dress
Traditional dress for flamenco in Spanish is called Bata de Cola , the style and the shape of which resemble ordinary Gypsies dresses: a long wide skirt, flocks and ruffles along the dresses and sleeves. Usually, outfits sew from white, black and red fabric, most often in polka dots. From above on the dancer dress, shawl with long brushes. Sometimes it is tied around the waist to emphasize the grace and harmony of the artist. Hair is combed back and decorated either with a bright hairpin or flowers. Over time, classic dress for Flamenco has become the official outfit for the famous April Fair in Seville. In addition, every year in the capital of Andalusia is an international show of fashion modes in Flamenco style.
Male dancer costume is dark pants with a wide belt and a white shirt. Sometimes the ends of the shirt tie at the front on the belt, and the red handkerchie is observed on the neck.
So what is flamenco?
One of those few questions on which hundreds of answers exist. And all because Flamenco is not science, it is a feeling, inspiration, creativity. How to say the Andaliysians themselves: "El Flamenco ES Un Arte".
Creativity, which fully describes love, passion, loneliness, pain, joy and happiness ... When there is not enough words to express these feelings, flamenco comes to the rescue.
This is an article about dancers and performers Flamenco in Tablao Cordobés on Las Ramblas in Barcelona.
All photos in this article were made by us with the permission of the Tablao Flamenco Cordobés administration during our last visit.
The founders and managers of Tablao Cordobés are Luis Peres Adam and Irene Alba. Louis studied at the Madrid Conservatory in the class of violin, and Irene studied classic dances. Both loved flamenco and became a magnificent guitarist and a dancer, respectively.
Over time, they organized their troupe and began to give tour worldwide.
In 1970, Matias Kolzada, the famous entrepreneur in the field of show business, was inspired by their execution of Flamenco, which offered them to become managers of a new institution on Las Ramblas. The result of this cooperation was the appearance of the establishment of Tablao Cordobés.
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| Sara Barrero in Tablao Cordobés. |
One of the criteria for choosing a place where you can see the real flamenco, this is whether managers are formerly or existing Flamenco performers. If the answer is positive, you can be sure that you are waiting for a good flamenco.
Now the tradition of authentic flamenco Tablao Cordobés keeps Maria Rosa Perez, Dancer Flamenco, lawyer and daughter Louis Adam.
In each show in Tablao Cordobés, about 15 performers participate. The fixed list of performers in this institution is not. The meaning of the permanent change of performers is to always be fresh and alive. In Flamenko, the main thing is improvisation, and better if the conditions for improvisation will always change.
The show in Tablao Cordobés is changing almost every month. However, the presence in the flamenco stars show is a very important factor for Tablao Cordobés.
As an example of the level of performers in this tablao, we present some famous artists of Flamenco, which performed in Tablao Cordobés:
José Maya, Belen Lopez, Carim Amaya, Pastor Galvan, El Hunko, Susana Casans, La Tana, Maria Carmona, Amador Rojas, David and Israel Serrier, Manuel Tanya, Antonio Villar, Seasito de Cheyora, El Coco.
In Tablao Cordobés, the brightest stars flamenco perform at the same time, which is sure to leave an indelible impression in your memory, for whatever representation you have come. Next, you can read a brief biography of some artists from Tablao Cordobés.
Amador was born in Seville in 1980, he did not attend special schools, and achieved mastery of permanent training on professional scenes. He received a lot of laudatory assessments from the audience and critics. He joined the Salvador Toror's troupe when he was 16 years old. Then he performed sololy until he joined Eva La Erbaben's troupe, where he began to work with Antonio Canales. He was awarded the prize in the nomination "Best Artist-Opening" in 2008 on Biennale in Seville. He performed in famous flamenco institutions around the world.
Hunko
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| Juan Jose Jaen famous as "El Junco" |
Ivan Alcala
Ivan is a Flamenco dancer, a native of Barcelona. He began to dance in five years. He studied in some of the best artists at the School of Theatrical Art and the Conservatory. He performed in such major shows as Penélope, Somorrostro, Volver A Empezar, etc. This is one of the best dancers of modernity, he received the Mario Maya award in the VIII competition of young talents in Flamenco dance.
Dancers Flamenco
Mercedes de Cordoba
Mercedes Ruis Munos, known as Mercedes de Córdoba, was born in Cordoba in 1980. She began to dance from four years. Her teacher was Ana Maria Lopez. In Cordover, she studied Spanish dance and dramatic art, and in the Seville Conservatory she was playing ballet. She performed in the troupes of Manuel Morao, Javier Barona, Antonio El Pipa, Eve La Erbabena and in the Andalusian ballet José Antonio. Her pure style earned her many awards.
Susana Kasas
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She began to dance at 8 years old. Her teacher was José Galvan. She performed in the troupe of Mario Maya, in Christina Hoios ballet troupe and in the Ballet-Flamenco Cerpep. He received a laudatory assessment from the audience and critics.
Sarah Barrero
Sarah Barrero was born in Barcelona in 1979. She was taught An Ana Marquez, La Tani, La Chana and Antonio El Toleo. Her career began at the age of 16, he performed in popular Flamenco places in Spain and Japan. She took part in a variety of local and international flamenco festivals, for example, in Mont De Marsans in Tokyo, in the GREC festival in Barcelona, \u200b\u200betc. She taught in the dance schools and received the Carmen Amaya Award at the Festival of Young Talents in Hospitalet.
Belen Lopez
Ana Belen Lopez Ruiz, known as Belen Lopez, was born in Tarragona in 1986. At eleven years she entered the Madrid Dance Conservatory. She represented Spain a couple of times at Inhrufesta, the International Tourist Fair in Russia. In 1999, she moved to Madrid and entered the dance conservatory, plus she performed in many Tablao. She was the main dancer in Arena di Verona and in the troupe of La Corrala. She received the Mario Maya award and the title is the best artist opening from Corral De La Pacheca. In 2005, she founded her own troupe with which there was a great success in different theaters.
Karim Amaya.
Karim Amaya was born in Mexico in 1985. She is the grandeer Kamen Amaya's niece, and her family is in her blood. She spoke in the most famous tablao worldwide, with the most famous artists: Juan De Juan, Mario Maya, Antonio El Pipa, Farruco Family, Antonio Canales, Pastora Galván, Paloma Fantova, Farruquito, Israel Galván, etc.
She took part in many shows such as Desde La Orilla, with Carmen Amaya in Memory, Abolengo ... etc.
She starred in the director film Eva Villai "Bajarí" and participated in a variety of local and international festivals.
Guitarists flamenco
Huang Campalo
This guitarist began his career at 6 years, working with Brother Rafael Campalo and the sister of Adela Campalo. He played for many dancers such as Pastor Galvan, Antonio Canales, Mercha Esmeralda, etc.
He participated in different concerts such as Horizonte, Solera 87, Tiempo Pasado, Gala Andalucía. He took part in Biennale in Seville in 2004 and 2006, and his talent was celebrated several times.
David Serréla
Israel Serraduela
Israel, the son of David Serraduela, was born in Madrid. He worked with the Great Artists as Antonio Canales, Enrique Mornet and Sarah Barras. It has a fresh and subtle style, which is considered promising in the world flamenco. He played in famous theaters, and also participated in the recordings of the albums.
Singers Flamenco
Maria Carmona
Maria Carmona was born in Madrid. She was born in the family of Flamenco performers. She is a solo singer, with an authentic and exceptional voice. She worked with famous artists, as well as in the troupe of Rafael Amargo. She participated in the "Flamenco Cycle of the XXI Century" in Barcelona.
La Tana.
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| Victoria Santiago Borja, known as La Tana, on stage in Tablao Flamenco Cordobés. |
Victoria Santiago Borja, known as La Tana, was born in Seville. She performed in the troupes of Joaquin Cortez and Farrukito. Her Manera singing exalted Paco de Lucia. As a solo singer in 2005, she recorded its first album, called "Tú Ven A Mí", the producer of which Paco de Lucia spoke. She took part in many Flamenco festivals.
Antonio Villar
Antonio Villar was born in Seville. He began to sing in 1996, in the Farruco troupe. Later he began working in the Tablao El Flamenco in Tokyo, he consisted in the troupes of Christina Hoios, Hoakina Cortez, Manuel Carracasco, Farrukito and Tomato. He participated in studio records with Vicente Amita and Nineas Pastor.
Manuel Tanya
Manuel Tanya was born in Cadis, in the family of Flamenco performers. He studied at Louis Monteo, Enrique El Estreteno and Juan Parilla. He began to perform at the age of 16 in many Tablao, especially in Tablao El Arena and Tablao Cordobés. He challenged the world with the troupe Antonio El Pipa. He has a successful career, and many artists are flattering about his voice. He took part in many local and international festivals.
Coco
El Coco was born in Badalon. He spoke on stage with such famous artists as Remedios Amaya, Montse Cortes, La Tana. He toured around the world. He starred in the documentary of Eve Willi "Bajari" along with Carim Amaya and other artists. He took part in many Flamenco festivals such as La Villette, the Summer Festival in Madrid and the Alburquerque festival.
Booking tickets for the evening Flamenco to Tablao Cordobés.
Tablao accommodates only 150 people. Therefore, it is recommended to book tickets in advance. After payment of tickets on the Internet, you will need to print a special voucher, which you need to take with you on the show.
We hope that you liked this article, and you learned more about Flamenco performers who are in Tablao Cordobés. If you want to learn more about Flamenko's evening in Tablao Cordobés, then read our article about the famous Flamenco evening in Tablao Cordobés on Las Ramblas Street, where we described in detail why this show is an example of authentic flamenco.
In the middle of the XIX-XX centuries, the Flamenco dance, along with the guitar and singing flamenco, finally acquires the final personality. Golden era of dance chronologically coincided with the development of a cafe for singing. The Flamenco dance became popular not only among commoners, but also among the prosperous people, and it became fashionable to dance Tangos, Sevillanas and other styles. Seville was considered the main center of Flamenco. The best academies of dances were founded here and, in addition, this city jealously supported the traditional and purity of the dance. Many famous figures arrived here from other provinces due to the fact that it was here that the genuine flamenco was performed. Professionals dance in front of the public daily and compete with each other for the applause of the audience. The most popular women-bailoras of that time are La Malena, La Macarrona, Gabriela Ortega, La Quica; The most popular male Bilari - Antonio El De Bilbao, El Viruta, Faico, Joaquín El Feo.
Huana Vargas (La Macarrona) (1870-1947)
Born in Jerez de la Frontera. At the age of 16 began to work in Cafe Silverio. The greatest queen flamenco.
Juana La Makarron entered the history of Flamenko's dance as a performer of "maximum quality". She was called the "goddess of an ancient ritual filled with mystery," and added that "gestures and clothing turned it into a wave, wind, flower ...".
She has not yet been eight years old, and she already adequately showed her dance anywhere - in front of the tobacco shop, pre-bakery and even on a small table.
And after the speech of nineteen-year-old La Macarrons in Paris, Shah Persia, conquered by the beauty of the dance, said:
"The grace of her dance forced me to forget all the delights of Tehran." She applauded the kings, kings, princes and dukes.
Fernando El De Triana (1867-1940) refers to the features of her dance:
"She was the fact that for many years was the queen in the art of Dance Flamenko, because God gave her everything necessary to be such: a gypsy face, a sculptural figure, the flexibility of the body, the elegance of the movements and the controversy of the hull, simply unique. Her big handkerchief from Manila and a robe - in length to the floor - became its partners, after several movements on stage, she stopped sharply for entering Falletet, and then the tail of her bathrobe was waving at the back. And when, with different transitions in Falste, she made a quick turn with a sharp stop, allowing its feet to get confused in a long bathrobe, she resembled an excellent sculpture placed on an elegant pedestal. This is Juana La Makarron! Everything. What can be said about her, fade in front of her real presence! Bravo. Sherry!"
Pablilos De Valladolid first saw La Makarron in the Seville cafe "Novondes", where the dancer opened the Tsygan dance department. He described the following words his admiration:
"La Makarron! Here is the most representative woman dancing Flamenco. In the presence of La Macarrons, all authoritative performers are forgotten. She rises from the chair with the majestic dignity of the queen.
Sumptuously! Rises the brushes above the head, as if reclaiming the world ... Stagidated white Batistan robe on a wide flight stretches on the scene. She, like white peacock, gorgeous, lush ... "
La Malena. (Jerez de la Frontera, 1872 - Seville, 1956).
She danced most of his life in Seville, but the glory about her very quickly spread throughout Andalusia. Its main style was tangos. Her hands praised, her gypsy color, her game with a compass.
La Malen in his youth stand out for the extraordinary beauty of the Gypsy type and was the only possible rival of La Macarronta. The noble rivalry between them lasted about forty years. Almost all of her artistic life unfolded in Seville, where she left for performances in a cafe for singing. In the same way, like La Makarron, passed through the best halls and many theaters, hitting the elegant female article, sophisticated with the style and rhythm of their dances.
According to Konde River:
"La Malena symbolizes all the grace, all the grace and the entire best style of art, studied and mastered by it with sincere devotion, and in which she invested his entire soul and all her feelings. On a wide variety of scenes for half a century, it continued to demonstrate the world a real style and the highest skill, in which only one genuine rival could be compared, with their own merit: La Makarron. "
It is known that in 1911, La Malen was invited to the Russian king as part of the "Maestro Real" troupe.
Four guitarist accompanied the last dance of the eighty-year-old dancer La Malena at one of the festivals in Seville, which she caused admiration and surprise to the public, as in their best years.
Gabriel Ortega Feria (Cadiz, 1862 / Seville, 1919).Cooperated with the Café El Burrero (Seville), in which every night went out with Tangos and Allegriah. Married Matador El Gallo. She threw a career for love. Her family was against Gallo and he decided to kidnap her. She was very honored as the mother of the famous kind as the Gypsy Queen, a woman with an inexhaustible kindness and generosity.
Antonio El De Bilbao (1885-19 ??), dancer from Seville.
Vicente Eskudero (1885-1980), the dancer from Valladolid, considered him the "most genius performer Sapateado and Alemerais". His idea in the Madrid cafe "La Marina" in 1906, described the legendary guitarist Ramon Montoya:
"There was one of the memorable nights in the cafe" La Marina "when Antonio El De Bilbao appeared in the room accompanied by several friends, and they asked him to dance something. At that time, this kind of spontaneous actions were frequent, and the dancer rose to the tablao and asked me to accompaniate him Allegrias. His appearance did not cause any confidence. He rose to the scene in Take, which pointed to his Basque origin (I was wrong). I looked at him and thought it was a joke, and decided to play, too, jokingly, to which Antonio objected with dignity: "No, you better play what I will be able to dance!" And indeed, this man knew that it was necessary to show, and conquered his dance guitarists, singers and the whole public. "
It will take some time, and Antonio El De Bilbao will become the owner of this cafe.
The legendary singer Pepe de la Matron (1887-1980) often recalls another episode that occurred with Antonio El De Bilbao.
Once in the evening in Cafe Antonio asked the impresario permission to demonstrate his dance. The mistrust of the impresario at the sight of a man "thin, small growth, with very short hands and legs" caused such discontent and the noise among his friends, that he was allowed to rise to the tabo. Yes, and time was closed. The waiters have already collected chairs, puzzling them on the tables. Antonio made only one double step, no moreover, and a few chairs fell to the floor from the hands of surprised waiters. After that, the contract with the dancer was immediately concluded.
La Golondrina (1843-19 ??) Dancer from Granada.
Mythical figure for sambras. At the eleven age, she has already danced Sambras in Sakhomonte Caves.
It was 1922, when the competition of Hondo's singing, organized by Manuel De Fali and F. G. Lorca, was held in Granada. Sang Antonio Chacon, and accompanied him Ramon Montoya. Opposite them, as if hiding from everyone, sat on the floor and quietly cried the old woman, captured by the song Antonio Chacon - Solearez in the style of Enrique El Melice. Suddenly, the old gypsy got up and turned to Ramon Montau without special prefaces:
"Young man! Play in the same manner so I danced! "
Ramon Montoya from respect to the age of the old woman began accompaniment guitar in El Herezano style. The old woman, slim, like a poplar, raised his hands and threw back her head with impressive majesticity. With one such movement, it seemed to illuminate and revived all those present. If freedom is achieved, everyone learns it immediately. She began her dance. Dance of some kind of inexplicable authenticity. At the Montae froze on the face of a smile, and the chapon, which before it never sang for dancers, trembled from excitement with mouth, with a trembling soleeres in the style of Ramon El De Triani.
La sordis
Another dancer, a native of Jerez de la Frontera - La sorrification, the daughter of the brilliant Matera Sigihiyas Paco Luus, danced despite her absolute deafness. One of the cleanest and genuine representatives of the Gypsy style. She had a wide repertoire, stressed Soleares and Bulerias
She kept her rhythm. Her skill in dance envied many of the best dancers for that era. After all, then the Flamenco dance was at the dawn very and, as you know, the competition was huge.
Pablilos De Valladolid, who saw her in the "Novondes" cafe in Seville, probably when she was absolutely deaf, says:
"Never rely on his ear. She has sterile and hermetic hearing! And, however, it wonderfully dancing in a magnificent manner, filling his figure of harmony and rhythm. "
- The origin of flamenco ballet.
By the beginning of the 1910s, Flamenco is increasingly appearing in the theatrical productions of Pastora Imperio, La Argentinita, La Nina de Los Peines, El Mochuelo, flamenco appears increasingly in the programs of other genres, at the end of the film and comedy plays.
During the opera, flamenco singing, dance and guitar are often combined in the comedies and carry with them the flags or the very genre of Flamenco.
At this time La ArgentiniTA Bases its company with AntonioE.l de Bilbao and Faico; Together they are circled with ideas all America and debut in New York Maxime Elliot "S Theater in 1916, where the" Goyescas "enrique granados is posted.
IN 1915 year Manuel de Fallacompound for Pastora Imperio "El Amor Brujo"from libretto Gregorio Martinez Sierra.Although the first company of Spanish dance La Argentina will create much later, in 1929, it is believed that this particular work marks the birth of flamenco ballet. Six years later La ArgentiniTA Combines the first ballet, based entirely on Flamenco, with its own version of EL AMOR BRUJO. Antonia Mercé accompanied Vicente Escudero, Pastora Imperio and Miguel Molina - the most outstanding musicians of her show.
Pastora Imperio (Sevilla, 1889 - Madrid, 1979).
One year she was married to the great Matador Rafael Gallo ("Rooster"). Love led to the altar, but the blow of two ingenious personalities broke this union for 1 year. She was beautiful, talented and independent - a very heavy combination for any woman in 1911. At the same time, they had a huge love. They loved and constantly fought. The pastor was the prototype of Emancipe, fantastic for the rights of a woman at the beginning of the 20th century: "It was a pioneer and she knew it. She was looking for a way to change the world, wanted him every day to be a little better. Today there is no such brave artist, which was pastor . Perhaps only Sarah Baras have such an international scope, which was in pastors. Contemporaries left many enthusiastic evidence of how perfectly danced pastor.
La Argentinita (Buenos Aires, Argentina 1895 - Nueva York 1945).
Friend Federico Garcia Lorca, his "dear Kuma", and the "civil widow" of Matador Ignasio Sanchez Mehias. She was dedicated to the poem Lorca "Crying on Ignacio Sanchez Mexias". Archentinite helped Lorca while reading lectures, speaking as a "musical illustration." It should also add that Archentinita is imagine! - In the 30s. came with touring in the USSR. And in the early 70s, four songs from the collection of Archentinite and Lorki were published on flexible plates in the magazine "Circle Gore".
1920-1930 years
The twentieth-thirtieth years in Spain passed under the sign of return to the origins, and folk art turned out to be in the center of the general interest, the general patriotic burst. Especially after the festival, organized in 1922, Garcia Lorca and Manuel de Falla. Not everyone knows that the poet Lorca was also a serious musician, and ethnographer; His merit in the preservation of the Spanish folklore is invaluable: traveling, he looked out and recorded rare variants of songs, and then drove with lectures, brilliant and passionate, imbued with love for his people. In 1929 (according to other data in 1931), Archentinite and Lorca recorded the gramophone plates twelve Spanish folk songs collected and processed by the poet. These recordings are interested in that Lorca performed as an accompaniment. Argentinite she sings and retries the rhythm, and the Lorca himself accompanies on the piano.
Encarnación Lopez and La Argentinita create folklore and flamenco-performances that are ascending to the top of the Spanish dance: "El Café de Chinitas", "Sevillanas Del Siglo XVIII", "Las Calles de Cádiz", "El Romance de Los Pelegrinitos" ... She Hires to work the best artists of that time: La Macarrona, La Malena, Ignacio Espeleta, El Niño Gloria, Rafael Ortega ... Good understanding the importance of scenography in the ballet, she appeals to lead artists with a proposal to create scenery for her ideas. So, the author of the scenery for "El Café de Chinitas" (show, first presented by La Argentinita in New York) became Salvador Dali.
Cafe de Chinitas in Malaga was one of the artistic zucchini famous in Spain, the so-called "Cafe Canthate", the most that from the middle of the XIX century just were the main platforms for performances by Flamenco. Cafe de Chinitas existed until 1937 and was closed during the Civil War. So the generation of Lorca and Dali didn't just know him well, it was familiar to them - the sign of their youth and the symbol of their Spain.
And yet, it was exactly the name of the ballet to the music of the arranged by Loroka folk songs; He put his archentinite (which was not less than Antonio Ruis Soleer), but Dali wrote a backdrop and curtain, made it for the popular scene. It was a performance initially nostalgic: Lorca was already killed by that time, Dali and Archentinitis were emigrated; The performance was shown in 1943 in Michigan, and then in the New York Metropolitan Opera and became another Flamenco myth ..
The performance consists of ten numbers on the music of Lorki songs. The acting Cantair (the famous singer of Esperanz Fernandez) is still participating in action - after all, in genuine flamenco dance and singing are inseparable. The dance is revealed here in both of their hypostasses: as an art language - and as a performance in the performance, when someone and the plot dances, and the rest are the audience.
In general, the relationship of the artist and spectators in Flamenco is also a special thing. They are born where the syncretic life of folklore is born and implemented; This is the relationship of the protagonist and choir, dialogue and competition, community and rivalry, unity and battle. Protagonist is one of the crowd. In authentic, not theatrical conditions, the action flamenco begins with a general concentrated seating; Then it is born and ripen rhythm, the overall internal tension is injected and, reaching a critical point, breaks through - someone gets out of place and comes to the middle.
La Argentinita dies in New York in 1945, and her sister dates back to her place, Pilar Lopez, responsible for such outstanding creations as "Bailes De La Caña", Karakoles, and Cabalez.
Vicente Escudero (1885-1980), Valladolid Dancer
Eskudero was one of the few theorists of his time that could comment on the choreography of the male dance Flamenco. His "Decalog" or ten rules for the dancer are still respecting today. In addition to the fact that he was the leading dancer Flamenco his time, he was a talented artist, and his works dedicated to Flamenco are often exhibited. His works admired the Spanish modernist artist Juan Miro. Ester also also appeared in the films on Fire (1960) and the Eastern Wind (1966).
His first official performance was in 1920 at the Olympia Theater in Paris. He reached his maturity as a dancer in 1926-1936, at that time he toured in Europe and America. Eskudero inspired respect for the male Flamenco dance, which sometimes regard as less artistic, compared to female performance.
Eskudero had a huge impact on the formation of the tastes of his generation and the following generations, the legendary Antonio Gades took a lot from Eskudero. His style was based on a strong and expressive masculinity, clear and clear work of the legs and BraceOS (movements by hand). Ten principles of the Eskudero were as follows:
1. Dance on male.
2. Restraint
3. Rotate with brushes from yourself, fingers together.
4. Dance the power and without fuss.
5. Hips are still.
6. Harmony of legs, hands and heads.
7. Be pretty, plastic and honest. ("Aesthetics and plastic without swelling").
8. Style and intonation.
9. Dance in a traditional costume.
10. To seek the diversity of sounds with a heart, without metal beams on shoes, special scene coatings and other devices.
His works:
Mi Bale (my dance) (1947);
Pintura Die Baila (Dancing Artist) (1950);
Decálogo del Boen Bailarín (Ten rules for the dancer) (1951).
Vicente Escudero invented Vicente Escudero (Segyiriya), which was presented in a variety of cities in the world. After just a few years after him, Carmen Amaya (Carmen Amaya) created Taranto (Taranto) during his vigi on American lands, and Antonio Ruiz (Antonio Ruiz) for the first time danced Martinete (Martinete) ...
In 1932 he performs in New York as part of his own team.
the end 30- h. - 40- e. years
Antonio Ruiz Soler (Antonio). Florencia. P.É REZ. Padilla. ().
Antonio and Rosario. They are the most "visual" representatives of flamenco and classical Spanish dances both in Spain and in other countries at the time. Twenty years they spend in America.
When civil war, Antonio and Rosario began in Spain, as many others, left and worked in the United States, including in Hollywood. The original art of the Spaniards had success in America.
And at the same time, if you judge by the recording of Sevlyana Antonio and Rosario from the movie "Hollywood Canteen" ("Hollywood Dining Room", 1944), the ecstatic nature of Flamencoes were blocked slightly: as if some scale was shifted, and the sunny art antonio was tested by the factors of careless lightness - Or maybe even levity, brilliant and still unpacable pop. If you compare the frames of this film with the records, say, Carmen Amaya, which is ahead, a small shift in the direction of pop theatricalization of flamenco can be noted.
The effect of modern dances, steps. Jazz and pop influence. Bindless light is added to Flamenco.
(1912 - 2008) . "Spanish ballet Pilar Lopez" was famous not only with his bright performances, but also by the fact that Flamenko was a "blacksmiths". Donya Pilar has always been a big master of finding "untreated diamonds" and turn them into diamonds. Her school passed Antonio Gades, Mario Maya.
Jose. GRECO. (1918-2000), by origin - Italian.
He moved to New York, began to dance in Brooklyn. His partners were La Argentinitis, later - Pilar Lopez. Three his daughters and one of the 3 sons are dancing flamenco. The last time went on stage in 1995 aged 77 years.
Carmen amaya. Born in Barcelona. 1913-1963
Since the 1930s. For thirty years, the star Carmen Amaya is lit, which can not be classified as a direction or school. Speaking throughout Europe and America and removing in a large number of movies, Carmen Amaya has deserved worldwide recognition.
"In the same year 1944, she starred in the Hollywood film -" Follow The Boys "(" Following the guys "), made on the same principle and on the same social order as" Hollywood Canteen ": an uncomplicated plot against the background of celebrity parades , To maintain the patriotic and military spirit to the climax for the US, the moment of war. A small figure in a male costume - tight trousers and "bolero" - rapidly crosses the viewers filled with viewers, takes off on the stage and rushes to the militant Sapaateado. She is a bunch of energy; In the mad dance there is no shadow of an elegant festivity Antonio, but there is, despite all the grace, some power and magnetism, and there is, despite all the incense, some proud closure. So the contrast with merry American stars here is still stronger. (In general, in the kaleidoscope of the pop numbers of this film - two dramatic notes, two faces of inner sorrow: Carmen Amaya and Marlene Dietrich, Spain and Germany.) "
Carmen Amya said: "I feel like in the veins of me, melting the heart of a polished passion, flows the current of the crimson fire." She was one of those people who spoke their dance that there is suffering, anger, freedom in life. She was a genius, a revolutionary dance, at one time she made a flamenco dance - as he dances now. She also sang, but Baylaora overwhelmed the singer in it. She never studied in a dance school. Her teachers were only her instinct and street, where she sang and danced to earn some money. She was born in a barrack made of straw, in the somorrostro quarter. Her father, Francisco Amaya (El Nyno), was a guitarist. Moving from one tavern to another, he took his daughter into one of these taverns, which at that time was less than 4 years so that little Carmen helped him make money. After the speech, the girl passed with a hat in his hands in a circle, and sometimes they just picked up coins that they threw them straight to the ground during the presentation. Francisco and Carmen also worked in small theaters. Seeing the performance of a little Carmen, a smart and seamless impresario of one famous variety sent a girl to training for a famous teacher to Spanish theater in Barcelona. So began the professional formation of the Great Dancer Carmen. Vincent Eskudero, seeing her dance, said: "This gypsy will make a revolution in Flamenco dance, because it combines two great style in its performance: a long-term, old style with characteristic smooth movements from the waist to the head, which she performed with weightless movements. Hands and rare lights in the eyes; and excuses with energetic, insane speed and strength of the movements of the legs. " After the start of the civil war, she left Spain and traveled the whole world: Lisbon, London, Paris, Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Uruguay, Venezuela and New York - saw and admired her flamenco. By the time she decided to return to Spain in 1947, she was already an international star, and this status was preserved behind her until death.
She starred in several films, who also brought her great fame: "La Hija de Juan Simon" (1935), "Maria de la-o" (1936), together with the pastor Imperio ", Sueños de Gloria" (1944) , "VEA helicopter Mi ABOGADO" (1945) and "Los Tarantos" (1963). Flamenco Pilar Lopez's performer remembers the first impression that the Carmen dance was produced on it in New York: "Whether the dance of a woman or a man was not important - her dance was unique! Carmen possessed absolute hearing and a sense of rhythm. No one could fulfill such turns like it, - the insanely fast, perfectly perfectly. In 1959, a source was opened in Barcelona, \u200b\u200bwhich was given by her name. He was opened on the road, which crossed the Quarter Somomroostro, where her childhood passed.
The last years of his life, Carmen lived surrounded by people really close to her, not for the public, but for those who worked with her and for her. Carmen possessed amazing energy. Her student, Fernando Cynes, remembers: "After the end of one of her last performances, in Madrid, she asked me:" Well, how? Tell me something about my dance! "And not having time to answer, I heard." I don't understand what happens to me, I'm not the same dancer. "By this time, Carmen was already seriously ill, but continued to argue, That the dance treats her, contributes to the removal of toxins from her body. She starred in a huge number of films, but shooting in the last film "Los Tarantos" in the spring of 1963, were especially difficult. It was necessary to dance bacon, with an unbearable cold. After the shooting, she felt , strong worsening of his health, but continued to say: "I will dance, while I can resist the legs." But the forces were on the outcome, and here in one of the evenings, in August 1963, dancing a few steps from the public, she turned to her guitarist : "Andres, finish." On the same night, Carmen died.
Juana de Los Reyes Valencia, Tía Juana La Del Pipa (Jerez De La Frontera, Cádiz, 1905-1987).
They say about it: "Más Gitana Que Las Costillas Del Faraón" (it is more gypsy than Pharaoh's thighs).
Lola Flores (LA faraona.) (1923 - 1995).
Flores was born in Jerez de la Frontera, Cadiz (Andalusia), which is the icon of Andalusian folklore and Gypsy culture. Lola Flores was not gypsy and never identified himself, although he admitted in one of the interviews that her grandfather's grandmother's grandfather was Romani. She became a famous dancer and singer Andalusian folklore in a very young age. She performed the cops, starred in films from 1939 to 1987. Her biggest success was in the folk show with Manolo Karakolem. Lola Flores died in 1995, at the age of 72, and was buried in Cementerio de la Almuden in Madrid. Shortly after her death, her distraught 33-year-old son, Antonio Flores, committed suicide, overdose of barbiturates and was buried next to her. In Jerez de la Frontera, there is a monument to Lola Flores.
Flamenco is a knock of kastaniet, flame fire, real Spanish passions.
One of the most popular dancing planet has long broke out beyond Andalusia and began its victorious procession on the planet.
Born in a few centuries
Spanish dance of passion originated in the fifteenth century thanks to gypsies-migrants. Turn on the video and look into the movement of dancers. It is clearly traced in the heritage of the peoples of India - the historic Motherland of Gypsy. Crossing Europe, coming to Andalusia, they brought their traditions. Faced with Moorish and Spanish cultures, nomads created a new passionate dance.
Flamenko on Seville Street
Motherland Flamenco - South Beauty Andalusia, became a kind of distilted cube to the eighteenth century who had improved movements, mixing the traditions of Arabs (Maurus), Spaniards, Gypsies, Jews.
Three centuries of isolation and wanders made him peculiar. Here he heard the bitterness of the loss of the Motherland, the danger and anticipation of new roads, the joy of gaining a new country, acquaintance with the new world of Spain. The eighteenth century became a turning point for passionate Gypsy dance, which was widespread among the local population.
A new round of development happened at the end of the twentieth century. By this time, the dance became the public domain of the Spaniards, and his rhythms and movements, children absorbed with Mother's milk. The development of tourism, international relations and the cost of real estate in Andalusia has a positive effect on Flamenco. Cuba rhythms were mixed with the melodies of popular European music of the eighties, creating folklore directions.
The Spanish People's Dance has received a special sound from improvisations and the developments of Hoaquin Cortez, reviving and visiting the movement, who have lost a lot of restrictions attached by raid archaic.
And a dress with many volanov
Flamenco is very popular, even far from the art of Terraticor people know that they are fulfilling his women dressed in bright, flowing dresses. The top is fitting a slim mill dancer, and the bottom is always a wide gypsy skirt with swans. Reaching a fifth dress can have a long loop. A wide skirt does not shove moves and is intended for a spectacular game. The outfit can be monophonic, color of fire or black, often clothing sew from contrasting colors, but the classic is considered a cloth with a large peas.
Castanets are one of the attributes, but this accessory is more applied to attract the attention of tourists. In Andalusia, this frantic dance is preferred by dancers using special plasticity of the hands, for this they should be free. Plus, hands are needed for a spectacular performance of mandatory movements with a skirt.
Once the Gypsy and Spanish dancers Locho danced with bare heels, with the arrival of the twentieth century, the ladies began to beat the rhythm shoes on the heel. They began to decorate their hair with a mandatory flower, dressed up attracting beads, earrings-rings, bracelets.
Another bright detail is shawl. She wraps the city of dancers or coquetty slides down. Spanish dance with fan has become a classic genre. The performer, demonstrating the grace, plays with a big bright fan, organically using it to create a spectacular performance.
On the streets of Seville
Back in the nineteenth century, the speeches in the public were the lot of professionals. The dance ceased to be exclusively popular entertainment, performed on holidays and by the fire. Now it was demonstrated in the peteed places for the joy of visitors. But on the other hand, professionals did not encourage development, in every way the obstacles are aligned for improvisation. The dance was not possible to develop, to learn to be complex skills were successful.
Flamenco - Dance of Fire , his rhythms sound in the daily life of the Spaniards, attracting masses of tourists. The main holiday is the Bienale de Flamenco festival, he regularly passes on the streets of Seville, collecting admirers, musicians, the best performers.
You can see Flamenco by visiting Tablao. These are bars in which dinner is accompanied by productions that professional choreographers and performers work. Flamenco show is an art in its pure form, you can get the ticket to the speech. Bars or Penas clubs (often non-revocual) are arranged improvised parties, on which visitors see the living folk performance.
The canonical option can be seen in the Seville Flamenco Museum. Day excursions are interactive with the best performers. And in the evening the museum becomes a concert hall.
Rhythm of modern life
Flamenco - the dance of Spanish Gypsies, the music is distinguished by a complex rhythmic pattern, permanent improvisation. The dancers and teachers also constantly brought something to their own, making Flamenco specially lively art.