Israel Galván

El Amor Brujo

Gitanería en un acto y dos cuadros

EL AMOR BRUJO [The bewitched love]

Gitanería en un acto y dos cuadros

[Gypsy piece in one act and two scenes]

Artistic Direction, Choreography

Israel Galván


Israel Galván | Eduarda de los Reyes


David Lagos


Alejandro Rojas-Marcos


Alfredo Lagos

Original Music

Manuel de Falla, Alejandro Rojas-Marcos, David Lagos


Pedro León / Félix Vázquez


Benito Jiménez / Valentin Donaire

Stage Manager

Balbi Parra

Technical Direction

Pedro León


Rosario Gallardo


IGalván Company


Teatros del Canal, Festival de Jerez, Dansa Quinzena Metropolitana, Maison de la musique de Nanterre, Scène conventionée, MA scène nationale – Pays de Montbéliard and Teatro della Pergola / Fondazione Teatro della Toscana

with the collaboration of

Ajuntament de La Rinconada, Scène conventionée pour les arts de la marionnette, Oloron-Sainte-Marie

supported by


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)

tour dates

France Paris Théâtre de la Ville 5-11 July 2021

Spain Festival Dansa València 15 Avril 2021

Spain Madrid, Teatros Canal – 22-23 December 2020

Spain Murcia Teatro Circo 14 Noviember 2020

Spain Pamplona Teatro del Museo de Navarra 6 Noviember 2020

Switzerland Ginebra, La Batie Festival de Geneve 10 September2020

Spain Madrid Teatros Canal 17 June 2020

France Nanterre La Maison de la Musique 23 -24 January 2020

France Nimes Festival 18-19 January 2020

France Montbeliard MA Scène National 13 December 2019

Spain Girona,Temporada Alta 15 November 2019

France Bourges L'Auditorium 11 October 2019

France Charleroi danse Les Ecuries 9 October 2019

Spain Badalona Festival Quinzena 16 March 2019

Spain Jerez de la Frontera Festival de Jerez March 2019

France Oloron-Sainte-Marie Espace Jéliote 5 March 2019

©Jean Louis Duzert / ©Rubén Camacho / ©Daniel M. Pantiga

Born in Sevilla, Spain, into the dancing family of José Galván and Eugenia de los Reyes, Israel Galván underwent classical flamenco training but since his first creation ¡Mira! / Los zapatos rojos (1998), that paves the way for a manifesto for a new spirit of flamenco dance, he has gradually transformed into un unclassified dancer and choreographer. Galván recodifies the physical language of flamenco, using not only modes of expression genealogically close to it, such as bullfighting, but also performative aspects of other rituals of popular culture, from football to activism and cross-dressing. He produces a multiplicity of bodies for a flamenco that is itself going through a process of change. Each of his creations is to be a milestone in his pursuit of a dance that seeks to free itself from certain features inherited from a crystallized flamenco. He wants to refocus dance on the actual act of dancing. Israel Galván was honoured with the most prestigious prizes such as the Premio Nacional de Danza (Spain), the New York Bessie Performance Award, the National Dance Award for Exceptional Artistry (UK). In 2016, he was promoted to the rank of Officier dans l’Ordre des Arts et des Lettres in France.