ABSTRACT
Triana discovered that if one is given carefully scheduled lessons at any age, there is no reason why one should not be able to attain a full command of Spanish dance in four or five years, at least from the technical standpoint. The dancer's artistry must always depend upon inherent talent and opportunity for constructive stage experience. Triana rightly took for granted that both he and Carmen would instinctively respond to the sultry rhythms. At the company's orchestra rehearsal a clash of temperaments occurred during the run-through of Amor Brujo, for Carmen was uncomfortable on a confined set. Her violent movements had the canvas scenery shaking on its foundations. Jerónimo Villarino, a flamenco guitarist from Huelva, Spain, who had accompanied Triana's New York Museum recitals, was now also living in Los Angeles, and his guitar supplied the creative impulse indispensable for Triana's own flamenco improvisations.
