The movement in the piece is extremely personal, deriving from the dancers, each with his own personality and in search of a way from the inner to the outer. There is no story, but rather an individual existential situation, albeit portrayed by a group, or in the background.
The creation takes place within a restricted white surface, shaped like a
trapezoid, which is accentuated with the lighting – emphasizing that which is open, and no less the line distinguishing the inside from the outside.
The five dancers do not move in the conventional manner of dance. Their
dancing is built of small hand, leg and head gestures – even when the entire body is in perturbation or physical occurrence – much like a multi-angled mirror of inner struggles, painful or exiting. This is a very strong piece, original, creating a strong tension between stage and audience, and does not allow you to remain indifferent.
On a black stage, with an asymmetric white linoleum square in the middle, lay five bent dancers. Movement has begun before the eye can distinguish. Body touches body, head pushes hand, and it seems the movement has a life of it’s own, stronger then the will to control it. Five bodies share one space and attempt, each in his own way, to extricate something that insists on staying in, as if trying to get rid of an obsession. Zaides’s lines are clean, which is also true of the stage design, costumes and movement itself.
It’s difficult to distinguish whether the dancers deform in pleasure or anguish, but that line, fine and deliberately unclear, leaves the audience attention. As his previous creations, this is also an abstract piece that makes use of sharp and mechanical movements, yet at the same time very emotional and sensual. At the end of the piece Zaides brings together all the edges of emotion that unfolded throughout and allows, for the first time in the evening, the calm to return.