Accom­pan­ied on stage by musi­cians, a sing­er and a choir, Span­ish dan­cer María del Mar Suárez revis­its fla­menco, incor­por­at­ing krump in par­tic­u­lar. A power­ful show based on impro­visa­tion and con­ceived as a path to the sal­va­tion of the body.

Fla­menco singing and music first occupy the stage and catch the atten­tion, before a little light reveals the body of María del Mar Suárez, firmly anchored to the ground. She pros­trates her­self on the ground, beg­ging and writh­ing. As Los ines­cal­ables Alpes, buscando a Cur­rito pro­gresses, the light, ges­tures and sounds become more vivid, before giv­ing way once again to dark­ness. The piece is thus con­ceived as a jour­ney, a pil­grim­age sym­bol­iz­ing sal­va­tion, trans­port­ing us from one point to anoth­er like an adven­ture, a tragedy. María del Mar Suárez – who holds degrees in dance and theat­er – remains faith­ful to her prac­tice of a hybrid, per­son­al and mod­ern fla­menco, here with a hint of krump. Vis­cer­al and hyp­not­ic, Los ines­cal­ables Alpes, buscando a Cur­rito is her third piece.