Movements of bodies, voices and souls that we have decided to call Figli d'Adamo.

Forms and feelings for fourteen splendid classical dancers, the only classical references on this occasion being some of the music and clothes.

Two completely different dance methods and worlds contrasted, the intention being to show that artistic creation has no fences or barriers and actually uproots any such restrictions irreverently to create vast free spaces where the eye can roam without necessarily having to label whatever it sees.

The brief tale of a meeting between two different worlds that have slowly come to acknowledge one another.

Like artisans we tried to file and chisel, plaster and gild. Destroying and rebuilding where necessary. With the advantage of finding bodies perfectly primed and minds willing to question, even if it had taken years to reach that degree of perfection. We asked them to doubt it all, talking about and exploring together the possibility of even greater perfection via an impurity. Until the shine and wonder of the very first dance steps returned to the surface. And then we listened to stories that moved us, made us curious or passed us by without leaving a trace, but which all became material in movement and starting points for an end as yet unknown.

Then form helped feeling: that is why with these specialists of bodily action in space we wanted to go back to the basic forms of existence such as walking, standing, sitting or falling to the ground, grasping wrists or putting hands to waist. Always keeping in mind that each movement has its own glance, its lines at the corners of the mouth.

We were only satisfied once we had attempted, with their agreement, to place them in that new shell or, to quote Tarkovskij, "in that Olympic serenity each new form provides".

So perhaps it was inevitable that in the end men and women, life and the way it reproduces itself and can be both everyday and mythical, became our subjects. Between the banality of human things and the purity of myth we paused together to look at the swarming, desperate agitation of those who seek meaning. Uselessly. From Judas' kiss to the lips of two lovers glued together forever, from Adam and Eve, striptease artists of 2000, to the biblical pair who disobeyed divine law; from Courbet's Origin of the World to its return to flesh in the shape of woman on show; from the raising of the religious ritual wafer to the altar-table raised to the sky bearing a sacrificial lamb once again in female guise: the unconscious metaphor dance bewilderedly evokes catches us by surprise every time.

First intuition and staging, then the slow and serious "explanation", but as a burden and a loss of that sense of the sacred, the magical, the illusion that occurs upon walking down the steps leading from stage to stalls.

There is a strong sensation of having omitted a lot, too much of what really took place between the fourteen dancers and ourselves in this meeting so intensely desired by Mauro, " the meeting of two different worlds that have acknowledged one another" and which perhaps are no longer so very different at all.

Michele Abbondanza and Antonella Bertoni