The dramaturgy of dance is a backbone that supports the gesture, the corporal speech, the scenic fact; Irreplaceable support, thread that rhythmically weaves the contents of the scene. I believe in the body: in its life-time space, in its secrets, in its fullness, in its strength, its dexterity, its complexity. The man on the scene communicates: naked, exposed, supported in his craft, in his scenic script, be this conceptual, experiential, visual, spatial, but always provided with a readable load that does not necessarily belong to the intellectual terrain. Such is my creed. It's up to me to talk about my way of working, what I'm looking for in this way, my concerns, which, without being unilateral, try to stimulate and develop that sensitive vein in the performer who holds the scene in a stage of antagonistic tensions. Let the body be the motive, because it encloses everything. Transparent body, so transparent that it turns in the light and the darkness of the man. Who if not the man has relation with the Everything: natural, carnal, material. This is the pretext…