Life is that continuous, dynamic flow of authentic impulses, dreams and desires. This flow is often blocked by the fixed, illusory figures that people construct and carry with them. These fictitious forms, such as moral values, ideals and social conventions, eventually dominate and overwhelm the natural dynamics and pure essence of the individual.
Can a person then abandon their fixed forms, listen to their inner self and perhaps grow their consciousness by overcoming their contradictory and controversial relationship with their figure?
When the individual wears one of these forms, in order to adapt to certain social circumstances, he has the illusion that he has realised the best of himself, but once the figure has been constructed, it is impossible to get rid of it and, on the other hand, society would not allow it.
This contrast between reality and appearance gives rise to the drama of the human being, who is forced to block his inner vital instinct and take on an imposed mask.
When the mechanism that drives us to live immersed in form is interrupted, our adherence to form, to society, fails and we become strangers to ourselves and subservient to the stranger that invades us.
Contemporary dance and figure theatre blend harmoniously to convey in movement the emotional state of an individual grappling with a controversial relationship with his form, with that way of life that he drags behind him almost unconsciously, suffering it as a self-deception that determines his acts and hinders his existence, a stranger he cannot ignore.
The figure and the performer thus pass through harmony and conflict, deceiving the eye of the spectator, bringing to the stage the element of illusion: who is manipulating whom?
An exciting reflection on the existential aspects of identity (the leitmotif of Sara Angius’ choreographic research), in which the spectator does not reflect on how she appears on the outside, but on how she feels on the inside.