Crimson Sky (2003)

     The family as a core and generator of ideas is the excuse for Cielo en rojo; the woman under a Latin-American perception is the axis or vortex; surrounding secrets, interactions, sexuality, familiarity, distances, lies, and the sterile wanting for all that is never to become.

     As passages in the history of a woman, visual fragments wander stemming from a memory which does not seek balance. All contrasts of existence meet on stage; the lover, the mother, the daughter. The play at times is woven with no chronological order, so players sometimes replicate themselves; they are transformed to open other doors while traversing the rooms of memoirs, brushing against the inebriation of the abject and with the certainty of a vacuum in the face of the irrecoverable.

       The challenge is striving for true reflection: The internal view of the dancer, of the creator and of the witness on both sides of the scene. To confront our need to love and be loved. To abandon the melancholy of what once was, in order to finally end up taking the next step.