“Luz Arcas is a dancer whose only ally is her body, and what it can be used to create, construct and bark. Dance is another form of politics, but of an intimate kind, that which doesn’t exhaust itself in a simple force but draws on many: poetry, translation, thought…. Because everything moves.

This Southern woman’s project isn’t restricted to the ghetto of professional dance, but goes in and out all those places where some kind of commotion or deviation is to be found. Dance is necessary. Her dance is necessary. Because it calls out for complicity and a place without making any specific demands. Because it provides the light in places where illumination can sometimes be salvation.”

“I, of course, was moved as a spectator by the tremendous political emotion of Luz Arcas, Abraham Gragera and the Pharmakos Dance Company. I felt my fist, my memory, my body, our defeats, the unbreakable loyalty I owe to my elders and all those many things that the young teach me, my young friends: all those things which can be proud of being right.”

“With A Great Political Emotion, La Phármaco turns memory into a physical experience of high poetic standing”.

“This is not a political rant; it is a slice of the world that ceased to exist in 1936. It speaks of a dignified, egalitarian and fair world, defined as democracy opposed any form authoritarianism, which achieved sovereignty for an impoverished people. Until a coup and a Civil War reduced all of those hopes to a utopia.”

“María Teresa León, embodied by Luz Arcas in a prodigious, overwhelming and tremendous initial solo: just when it seems that the performance abilities of this woman could not be any more sharpened or sensitive, even more surprising is the way in which what up until recently would have seemed impossible is rendered in natural registers”.

“A great emotion that brought the audience at the Cervantes to its feet”

“Arcas and Gragera have combined movement with the voice, breathing and music to the service of constructing a tremendously beautiful visual monument to honour and commemorate intellectuals from the Generation of 27. The production exudes passion, emotion, hope, expectation, melancholy and utopia in equal measure.”

“But when memory relating to reason and the heart deserts us –Evgueni Evtuchenko said thus in a beautiful poem– the memory of the body remains. And that, the third memory, is what Luz Arcas has to offer. First of all, embodying her in a beautiful solo full of energy in which a thousand María Teresas –the sensual young women, the revolutionary with her fist in the air, the women scared by bombs, she who had to go into exile–emerge from the body of the dancer burning up, as brilliant and full of nuances as the writer herself”.