When Lola Flores interviewed Guillermo Cabrera Infante in this Antena 3 program entitled Sabor a Lolas, the author began to respond to the compliments of starring by saying that he was very moved to be there, in front of a myth, “because Lola Flores is a myth in Cuba”. La Faraona, of course, nodded and said, “Well it’s true, it’s ugly to say, but I was a myth in that Havana.” Of all the monumental scenes Lola Flores has left behind on TV, this one seems to be an anecdote out of the bunch. And yet I think the measure of what Lola Flores meant in a medium in which she not only ruled but also that which tamed and subdued her is better than others.
There he was, one of the most revered writers of his day, bowing to the fire girl’s greatness, and the fire girl not only accepted the compliment, as polite people do, but certified it as dogma. In these times, when we’re so obsessed with identity and staging is so important (that moral mask Edu Galán talks about in his last essay), Lola Flores was simple. Not only did he not add any complements to the verb to be, he merged it with the verb to be. Estar and Ser meant the same to her. Flores lived and proved that he was alive at the same time, and when he spoke he only spoke, he didn’t want to prove anything or take sides or set an example. This attitude disarmed any theatrical or television code, making her an undefinable and intriguing presence on screen.
Television has defected as flamenco defected before, because life itself has defected. And no talent or academic virtuosity can beat such a mighty force. Today television returns to surrender to her for its centenary. And it feels good.
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