Abstract Molinos ¡a mí! is a dance theatre piece by the Spanish company Verterbadas Artes Escénicas. This creation offers a liberated interpretation, drawing inspiration from Cervantes’ iconic novel’s renowned windmill encounter chapter. Executed by a cast of women with disabilities, the portrayal of Don Quixote intriguingly features a female performer in the role.

Details The outset underscores that the play underwent adaptation to align with the pandemic’s circumstances, consequently leading to the postponement of the original performance date. In the revised rendition of the play, the themes of absence and yearning, inherently woven into the contemporary landscape, take on a central role. Furthermore, in light of quarantine mandates or concerns surrounding contagion, certain actors opted not to or were unable to partake on stage, resulting in their exclusive digital participation. The opening scene unfolds with a woman adorning a suit of knightly armour and grasping a lance, complemented by the evocative strains of a violinist. In the backdrop, a man clad in a flowing white robe assumes the role of Sancho Panza. The music subsequently shifts into a pulsating rhythm, guiding the knight’s motions that mimic those of riding. In the subsequent sequence, a group of individuals forms a semi-circle, facing away from the audience, accompanied by a tension-filled musical backdrop. One by one, they retrieve items positioned before them, gradually pivoting to face forward and proceeding to advance toward the centre. There, they converge momentarily, exchanging unspoken interactions, and then scan their surroundings in quest of something, casting their gazes in various directions. A woman carrying a singing bowl makes her entrance onto the stage. Striking the bowl, a procession ensues as each figure, whether digitally or physically present, sequentially steps forward. They present their objects within the central space, accompanied by partial dance movements. After showcasing their item, the initial character calls out “Quixote” in a manner infused with searching urgency. The moment the final entrant joins the scene, the identity of Quixote becomes evident. At this juncture, all the figures take turns sharing their perspectives about him, portraying Quixote as a nobleman in his fifties, an enthusiast of hunting, and an individual donning armour. Moving forward, a video call among the actors is projected, presumably occurring in their respective homes. Though the dialogue remains challenging to discern, a prevailing sense of distress and sorrow is palpable. Toward the conclusion, one of the actors dons an FFP2 mask, which triggers a spirited discourse on stage regarding the presence or absence of a certain element. Subsequently, three silhouettes gracefully manoeuvre fragments of cloth to the accompaniment of wind-like sounds, subtly alluding to windmills, a realization that crystallizes subsequently. Unexpectedly, their tranquil motions morph into rapid, frenetic, and untamed actions. The music takes on an unsettling and agitated tone, complemented by dim lighting. A woman fervently endeavours to bring the windmills under control. Her cries are punctuated by wild gestures as she grapples with the air. Gradually, windmill after windmill succumbs to her efforts, toppling in succession. Once the tumult subsides and the windmills regain their composure, one of them experiences a poignant realization. It becomes acutely aware that its true desire is to dance harmoniously with the wind, but the whimsical imaginings of humans have transformed it into a malevolent monstrosity. Its essence, once brimming with joy, is now consumed by the need to combat. The fervent wish emerges to rediscover its authentic self – a serene windmill that revels in dance within the breeze and finds solace in nature. Subsequently, darkness envelops the stage, with only an orange-lit screen commanding attention. Silhouettes of the actors come to life upon it, engaging in an intricate dance of interaction. The screen unveils battles between the windmills and other figures, marked by instances of windmills being brought down or pursued with lances. Just before the light dims, the shadow image of the knight introduced in the opening scene materializes, Quixote.