The performance Analog Body focuses on the human being itself: on human strength and fragility, on the ability to adapt, endure, and overcome the challenges of existence in the natural world. Through a clear and essential exploration of movement, the performance investigates the organic, neurological, and psychological conditions of survival and transformation of the human body. Drawing inspiration from humanity’s timeless existential crises, the work turns its gaze toward the contemporary era and the challenges arising from rapid technological development. Its central focus is the increasingly close relationship between humans and machines, not only through the senses but also through the integration of technological devices into the body itself. Analog Body offers an artistic reflection on the nature of humanity today, suggesting that the body remains the last stronghold of the analog human.
Return is a dance and music performance for three female dancers and one musician on stage that explores the contemporary human condition through the concepts of the cycle and the ruin. The work approaches the body as an agent of memory and relation, as part of an ongoing process of return and redefinition. Through movement, sound, and materials, a ruin-like field emerges, shifts, and reassembles itself, tracing a path from the individual to the collective.
The composition unfolds through fragments of movement, sound, and action—small events that appear, transform, and re-emerge in new configurations. Rather than following a linear narrative, the work is built through successive encounters in which singular elements acquire meaning through their relation to a larger whole.
The archaeological site of Maroneia functions as a landscape in dialogue with the performance, rather than as a mere backdrop. Parallel temporalities appear and coexist without merging one another, while the personal is repositioned within the collective. Return is not a search for a mere point of origin, but an encounter with the other, the body and the shared space, where movement, transformation and coexistence become a common experience.
A female body encounters the stone, a material historically associated with labor, construction, and endurance. Their relationship does not unfold as domination, but as a gradual shift toward coexistence and care. The body’s ephemeral and vulnerable action coexists with the duration and slowness of geological matter, shaping a layered experience of time. Stonebody is a choreographic solo engaging with materiality. It explores the embodied experience of gravity and the relationship between movement and stillness through the direct contact with stone. Body and gravel form a kinetic continuum: they carry and support one another, creating ephemeral landscapes and shifting compositions. As the dancer responds to the material, she transforms, while the stone, through the choreographic act, acquires corporeality, rhythm, and meaning.
Sirens, A Collective Song is a walking movement and sound installation that maps a landscape of bodies, dances, melodies, and songs, tracing its route through a sequence of transitional actions and states. Like a contemporary ritual, it engages with our inner desires, our present-day melancholy, and a shared grief for what has already been lost.
Referencing the dual meaning of the word “siren”—both as deception and seduction in mythology, and as a warning signal—a choir/choreographic collective of women transforms into contemporary “sirens” who listen closely to the present and imagine a future. It is an invocation of the present moment, at once a cry of anguish and an invitation to gathering, connection, and shared understanding.
The genesis and evolution of the human body towards the perfection of movement is the central theme of Amphibians. From the primordial soup and the earliest amphibious life forms to the emergence of humankind, the biological history of the human body has unfolded through constant struggles with the environment, gravity, and the very imperfection and mortality of matter itself. Ultimately, the body confronts its own limits in order to overcome them and transform into the dancer’s body.
This performance moves dynamically between lecture and dance, scientific findings and personal narratives, Darwinian evolution and philosophical inquiry, proposing beauty as a form of existential salvation. At the same time, it traces the laborious, agonizing, and magical life of the human-dancer, seeking to uncover what it is that makes a human being truly human — both metaphorically and literally.