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Conception|Interpretation: Lígia Soares Collaborators: Andresa Soares, Eduard Gabia, Emilian Gatsov, Guilherme Garrido and João Nicolau; Production: Pleasant Machine

Residences: The Space of Time, Center National de La Danse (Paris)

If I wanted to make a play, I started by stating that I was going to make a play, then I announced myself as the author of that play. He didn't give it a name right away and did it all at once without thinking. Because thinking delays the understanding of deep things. The depth is silent, or sometimes there is music, but mostly silent. Disgusted because it's not above, like the other things we see above. No, the depth is always below, behind, without surface. And you can't see it either. It doesn't leave, it doesn't integrate.

So if I wanted to eventually do a deep piece, I wouldn't show it, or I wouldn't do it. Since the pieces to be made have to come to the top, stop at our hands. Ah... and being seen, they have to be seen, and the more seen the more they are seen. And the more showy the more seen they will be. And the more delicious the more food then. A piece can even be deep if it tastes good and then eaten. Otherwise it spoils.

And the show? The show must be difficult at first, but only as an initial shock, which awakens the muscles, awakens the sensitivity, awakens the attention, the gaze, which awakens the thoughts...

And then?

After: The approach of the beautiful man to the beautiful woman to the sound of the International

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