Andrés Marín Recto y solo

Season 23 24
Flamenco virtuoso Andrès Marín is here accompanied by Pedro Barragán’s guitar. They revisit through dance the writings of Vicente Escudero, a critic and flamenco performer of the early 20th century, raising the question of queer identity, feminism, and the construction of gender in this art form often perceived as traditional.

[the show features a few stroboscopic effects]
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  • 18h00
  • 21h00
  • 15h00
    Full price
    49 €
    Under 30
    21 €
    Job seeker
    24 €
    Social minima
    14 €
Session translated into French sign language
Screening with audio description
Meet the artists after the show.
School session
Session with adapted subtitle

“Anyone who dances and thinks ahead to what they’re about to do is more dead than alive”, said Vicente Escudero, a pioneering figure of flamenco. This assertion could have been written for Andrés Marín. Many eras apart, the forward-thinking choreographer has cultivated a profound affinity for the man who in the early 20th century connected his art form to the aesthetic avant-gardes and was the first one to dance the “siguiriya”. Recto Y Solo, which had its world premiere at Chaillot, théâtre national de la Danse, revisits the rules of male dance once laid out by Escudero in his famous “Decalogue”. In line with modern-day perspectives on gender identity, Marín deconstructs the heteropatriarchal culture of flamenco and tracks down the very essence of his predecessor’s conceptions. His performance, backed by Pedro Barragán’s inspired guitar, feeds on the experience of the body, time and space. Along the way, Marín embraces another aphorism from the master: “I prefer to dance like a careless man than an intelligent man”.  



Isabelle Calabre