A few years ago, during an interview, a dance critic asked me “when will you do El Amor Brujo”, and it was perhaps there and then, without realising it, when I began to think about it, like a first move of the critic’s pawn. I like to change and go through different stages. For me, it’s necessary. The idea is to dance to Falla, that the score develops a new movement in me. Music and dance, without the pressure to tell you the story, that’s my idea. I’m comfortable with the different jumps in my work, with making radical turns, to keep looking and being dissatisfied. With Gitaneria en dos cuadros, I feel I’m taking a risk that I like and that moves me, to keep examining inside that music, without adding anything extraneous to the original. El Amor Brujo is a dog, it bites me. I had it close and I didn’t realize it. Maybe because I don’t identify with the flamenco ballet or dance versions of it. To dance it with Falla’s piano score, feeling the vibration of the hammer on the string, stomping the terror in the middle of the sorcery. Going back to an idea of a first rehearsal. I want to dance the process of musical transition that took place from the Pastora Imperio version until the Antonia Mercé La Argentina version. The journey from failure to success. Focusing on that period and trying to do a rawer El Amor Brujo, without orchestration and without a dance troupe, calling for those spirits to enter me, alone, with just a piano and a throat for the set. My search in dance is transformation, and in this case, the old masters give me the key to change body and soul, a new bailaor, in front of the audience and the mirror. (Israel Galván)