The man is on the very edge of the stage. He seems to be assessing the huge size of the white square. His body looks motionless, it looks as if he wanted to tame the space. The sound calls out to him, accompanies him, like a conscience. This directive metallic voice chants his interior changes and his private decisions. The man is therefore faced with his own contradictions, by which the impulses and curbs to inspiration intertwine. Gradually, an initial process of movement, an interior journey is born. It makes us travel into history through a simple choreographic sentence, and its dynamic development – and later on excessively dynamic – gives birth to a creature, a harbinger of the dramaturgy at the heart of the piece.
As if coming directly out of a work of fiction, the appearance of a gorgeous creature opens up a dialogue between two discovered beings, the silence of which is embedded in their bodies and represents a one-to-one encounter. They do not touch. On the edge of the white square the woman is a motionless witness and she attempts to unsettle the man trying to complete his choreographic process. The bare space and the minimalist aspect of the sound and light show and bluntly shed light on a confrontation set on a naked stage. Purging bodies from any unnecessary movement means reaching the essential part of the relation offered. By simply suggesting, the mind of the person watching the piece can imagine his own dramaturgy with his own references.