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Siudy Flamenco Presents
Half a century of flamenco's defining moments — captured in photographs, returned to motion by a single body.
Following its European premiere · Miami · One night only
Drawing on the archive of photographer René Robert, José Manuel sets out to inhabit a device that hybridises dance and digital art. A reinterpretation of more than 50 years of photographs of flamenco artists, in which the photographer sought to capture, in his own words, the state of grace and the courage to live. Álvarez transforms gesture into movement, conveying the photographer who shoots, acting as the developing fluid and the channel that, through physical expression, connects these artists.
The capture — a photograph freezes a body in motion, trapping raw emotion in a single frame. The instant before, and the instant after, remain invisible.
The dialogue — a dancer confronts the photograph and begins a conversation across time. The still image awakens. The body remembers what the camera forgot.
The escape — movement breaks free from the frame entirely. What was captured is now released. The dance that was frozen becomes unstoppable.
René Robert · 1936–2022
René Robert (1936–2022) was a Swiss-born photographer who, from the 1960s onward, spent fifty years documenting flamenco from the tablaos of Paris. Working in close-up black and white — often unnoticed by his subjects — he assembled one of the most extensive photographic records of the art form ever made, including images of Camarón and Paco de Lucía. The archive is held by the Bibliothèque Nationale de France.
Captura y Fuga is the first artistic work to activate Robert's archive outside his own photography exhibitions.
Robert died in 2022 after collapsing on a busy Paris street. He waited hours in the cold while passersby walked on. A homeless man eventually called for help — too late.
This homage to the tragic death of René Robert is a song to life.
Recomana
An image that, as it fades, reminds us that flamenco — like life itself — can only be lived in motion.
Revista DeFlamenco
In a particularly beautiful moment, the photograph of a dancer is projected onto the body of the performer himself, who appears inhabited by two spirits — that of the photographer and that of the dancer.
Revista La Flamenca
One performer. Photographs from Robert's archive projected across the stage — and onto the dancer's own body. An original score from Álvarez that braids traditional flamenco with electronic textures, built from a library of percussive sounds he composed himself. The stage becomes a kind of darkroom — movement triggered, captured, developed, reframed.
The work unfolds in six movements
The Observer · The Laboratory · Shot · Retention · Shutter & Reframe · Out of Frame
A body trapped in a photograph is not still — it is holding its breath. This work is the exhale.
Direction · Concept · Performance
José Manuel Álvarez is a Spanish choreographer and dancer whose work lives at the intersection of flamenco tradition and contemporary performance. His creations explore the body as a vessel for memory, image, and emotion — transforming stages into spaces where photography, dance, and digital art become inseparable.
Born in Seville and based in Barcelona, Álvarez has presented work at La Villette in Paris, the Piccolo Teatro in Milan, the Festival de Jerez, the Festival Flamenco Madrid, ImpulsTanz Vienna, Dansa Metropolitana, and Riyadh. He has choreographed for Rosalía and Sergio Bernal, and collaborated as a performer with Ana Morales, Marco Flores, and La Fura dels Baus. He directs his own studio, ¡La Capitana! Espacio Flamenco, in Barcelona, and is co-director of the Festival Ciutat Flamenco.
Captura y Fuga — premiered in 2025 — marks his Miami debut, presented by Siudy Flamenco Dance Theater at the Adrienne Arsht Center.
Adrienne Arsht Center for the Performing Arts
1300 Biscayne Blvd, Miami, FL 33132
With the support of
Impulstanz Vienna International Dance Festival
Company member of
ALIANSAT Project
Artist-in-Residence
Fabra i Coats — Fàbrica de Creació, Barcelona
Secure tickets through the Adrienne Arsht Center