Plaudit: captatio benevolentiae or j’accuse?
In the beginning was the beat:
ironic clapping,
hunters flushing out the prey
or beginning of a sabbatical ritual.
The insistent, geometric loop
compresses and compels
sustaining and generating scores
rigorously formal scores,
thus momentarily leaving concealed
of the feminine soul the essence.
In the unfolding of the action
flows a surgical
choreographic self-flagellation
always listening
of a common and shared time.
Simultaneously beat and beat:
‘Beat but listen!’ (Plutarch)

With a posthumous disguise
and minimal movements
the flow takes us
into the game of female identity,
effeminating, malingering, disambiguating the four performers.
Disembodying and incorporating themselves and each other:
two poles,
two physical places
on opposite banks of the same river.
Accomplices of their own appearance, they mirror each other
restoring mirrored movements,
compressed and coated by a sound accompaniment
that magnetises and flows
without any real interruption
nor space for melody
but only for the aridity of rhythm.
‘Femina’ is the space of translation and hallucination
into a scenic framework of possible forms and names
of the feminine and feminine contemporary world.