In Comedia sin título (La danza, el baile y el flamenco en la resurrección de Federico García Lorca), Úrsula López treats Lorca’s unfinished play as an opening rather than a script. The production begins from the single line Lorca left for the final act—an image of “arcángeles” in faralaes ascending—and turns it into a choreographic question: how did flamenco keep Lorca present after 1936, during the dictatorship and across exile? 

The work unfolds as a curated sequence of scenes, organized like chapters (A–C), that cite a wide field of dance history: stage flamenco and Spanish dance of the midcentury, modern dance responses to Lorca, and the post 1970s return of experimental dramaturgy. Rather than impersonating these sources, the company uses them as materials—rhythmic templates, choreographic motifs, theatrical frames—so the audience can feel continuity and rupture in real time. The synopsis foregrounds a particular lens: the formation of masculine codes in flamenco under Franco, including their contradictions, and the ways those codes traveled internationally. 

Pedro G. Romero (script/documentation) and director Luz Arcas shape a theatrical spine for the movement, while Úrsula López’s choreography is grounded in ensemble work: group patterns against solo statements, procession against stillness. Live music anchors the stage—cante (Perrate, Sebastián Cruz), guitar (Alfredo Lagos), sax (Juan Jiménez), percussion (Antonio Moreno)—with a sound space designed by Juan José Cañadas. Lighting and scenography by CUBE and costumes by Belén de la Quintana keep the visuals stripped back and contemporary, letting the archive emerge through bodies, not décor. The result reads as history made physical: rigorous, layered, and immediate.