PROJECT

A “grotesque ball” of mechanical puppets or stone statues that come to life against a background of shrill and percussive music, de marfim e carne (of ivory and flesh) reveals a very personal world filled with references passing by at full speed. References – think of the modernist avant-gardes of the early 20th century in particular – whose ambiguity however is exposed in contemporary issues. Like an echo of Pygmalion breathing life into his statue of Galatea, the choreographer seems to be suggesting that only sensitivity, desire and love can stop our bodies from becoming enslaved.