“ La Phármaco has created its most abundant and complex performance. The work of the six dancers, in a project that so ragefully woman on all levels as portrayed in Miserere, is monumental in its power, its forcefulness, its technical skill, its generosity and its bravery, that nothing is left unspoken. You leave the performance healed, conscious that a few demons have perished in the theater. The violence, bearing knives, furnishes its effect: but beyond the customary unreserved work of art. The tears that spread across the audience last night gave proof to the work’s power”

Pablo Bujalance on MiserereMálaga Hoy.

……………………………………………………………………………………………………………………………..

“This work, Miserere, is an unforeseen event, where tradition is taken on via modernity, placing us in a diffuse zone, one that is atemporal, lacking geographical affiliation. There is not even language here, as if we were brought back to the purest roots of our very existence”

Txema Martín on Miserere, Diario Sur.

……………………………………………………………………………………………………………………………..

“Luz totally converts herself into Kaspar“Europe’s orphan”, starting from within and emanating outwards, through dance as only she knows how to. A work of extreme quality, of delicate plasticity and spot on performance, a performance that will leave no-one indifferent, placing her once more at the top of the pyramid of dance”

Luis Mª García Grande on Kaspar Hauser. Que revienten los artistas

……………………………………………………………………………………………………………………………..

“ In an astonishing embodiment of nuanced registers, at times violent and sharp at times full of a moving tenderness, Arcas tells the story of Kaspar Hauser offering her public a mirror to reflect upon themselves, with truly original accuracy. Something that is unable to be said, is created as Luz Arcas dances. Making us feel human, US.”

Pablo Bujalance on Kaspar Hauser , Granada Hoy.

……………………………………………………………………………………………………………………………..

“Beyond the unrelenting beauty of the staging and the overwhelming technical skill, I can’t remember seeing a Beckett this pure, nor this necessary.”

Pablo Bujalance on The Voice of NeverMálaga Hoy.

……………………………………………………………………………………………………………………………..

“It is a mature and elegant performance, with a very sober structure and a series of balanced elements(…) The piece is an intense poetic force(…) The theme of this performance is merely a pretext, a way of approaching the classics with a latent modernity: the ancients as a patrimonial burden, moral disaster as our main inheritance and perhaps guilt in the form of a suicidal shadow”.

Roger Salas on Exodus. first dayEl País.

……………………………………………………………………………………………………………………………..

“Luz Arcas knows how to take on a risky, innovative proposal marking a line in contemporary Spanish dance, breaking down barriers between text, movement, dance and theatre, placing the company in a highbrow repertoire.”

Adolfo Simón on Exodus: first dayQue revienten los artistas.

……………………………………………………………………………………………………………………………..

“Exodus: First Day is one of the most intimate ceremonies around. If you haven’t yet realized it, this is your opportunity to see the beginnings of a star”.

Peio H. Riaño on Exodus: first dayEl Confidencial.

……………………………………………………………………………………………………………………………..

“Here theatre and choreography have achieved their purpose, to reveal what Sophocles’ texts illustrates and what logic points out, in a way that from its very start brings the audience to a distant era”

Julio Casto on Exodus: first dayLa República Cultural.

……………………………………………………………………………………………………………………………..

“La Phármaco manages to interpret and transmit, intelligently, the teachings of a great classic, bringing the theater back to its original function: a place for ideas, problems, and everyday cultural life to resonate. We are not watching a mere performance: we are participating in a collective rite, a social need”

Victoria Page on Exodus: first dayLa girándula.

……………………………………………………………………………………………………………………………..

“Luz Arcas’ solo with a staff is one of the most beautiful things that yours truly has seen on stage. The journey to the seed becomes fruitful. Becoming pregnant is a delight”.

Pablo Bujalance on Exodus: first dayMálaga Hoy.

……………………………………………………………………………………………………………………………..

“With a sober and profound composition, Luz Arcas involves time and space in a synthesis lasting just long enough. The live music, an a cappella soprano, imbues the scenes with a sense of ritual, contributing a sense of distant elegance. Working on the concept of the solo in dance brings the dancer to a confrontation with an imaginary, enormous referential mirror”.

Roger Salas on Thirst erodesEl País

……………………………………………………………………………………………………………………………..

“Luz Arcas offers up colossal physical dedication, awakening in the audience not only an admiration for her artistic honesty but also an elegiac feeling which imbues ones spirit in an unshakeable manner.”

Francisco Mesa on Thirst erodesBahía de Cádiz.

……………………………………………………………………………………………………………………………..

“La Pharmaco has always had the particularity of nourishing itself, from the start, of a vision of the classics, in textos as well as in mythological sources, in order to develop their contemporary dance choreographies(…)  I am always surprised at the amount of formats that they can take on as their company grows, but also how each of them provide a theatrical surprise.”

Julio Castro on Thirst erodesLa República Cultural.