- PRODUCTIONS -

Achilles'(2022)

Concept and choreography: Glenda Gheller
Production: ocram dance movement in collaboration with Scenario Pubblico, the national dance production center
Music composer: Michele Piccolo, Massimo Lievore
Costumes: Kieran Brown // realization: Gabriella Palomba
Duration : 20 minutes

Achilles’ explores the line between human nature and what transcends it. It looks at that tiny part of vulnerability hidden by a superhuman strength.

It is an ongoing discovery that manifests itself in two different connotations. One being attached to the aesthetic of challenging the physical endurance of the body. The second being inclined to an intimate discovery of human vulnerability which becomes the greatest measure of courage.

The studies of Brenè Brown, American sociologist and author, inspired the starting point of this choreographic process.

To the question “How do I become courageous?” Brenè Brown replies, “Be vulnerable. Staying vulnerable is a risk we have to take if we want to experience connection.”how do i become a brave person? ", B. Brown would reply:"Make yourself vulnerable. Remaining vulnerable is a risk we must take if we are to experience the most sincere human connection".

Achilles’ is a process of resilience in which every individual can embrace their weaknesses and learn to see them as strengths, to then connect genuinely with their own and others emotions.

Being invincible or being authentic? Where does the true source of strength lie?

Achilles’ explores the line between human nature and what transcends it. It looks at that tiny part of vulnerability hidden by a superhuman strength.

It is an ongoing discovery that manifests itself in two different connotations. One being attached to the aesthetic of challenging the physical endurance of the body. The second being inclined to an intimate discovery of human vulnerability which becomes the greatest measure of courage.

The studies of Brenè Brown, American sociologist and author, inspired the starting point of this choreographic process.

To the question “How do I become courageous?” Brenè Brown replies, “Be vulnerable. Staying vulnerable is a risk we have to take if we want to experience connection.”how do i become a brave person? ", B. Brown would reply:"Make yourself vulnerable. Remaining vulnerable is a risk we must take if we are to experience the most sincere human connection".

Achilles’ is a process of resilience in which every individual can embrace their weaknesses and learn to see them as strengths, to then connect genuinely with their own and others emotions.

Being invincible or being authentic? Where does the true source of strength lie?

Espresso(2022)

Production: Ocram Dance Movement // Scenario Pubblico National Choreographic Dance Center
Choreography and Set Concept: Claudio Scalia, Marco Laudani // Damiano Scavo
Light design: Marco Laudani
Costumes: Gabriella Palomba
Music: Tony Renis, Toto Cotugno
Dancers: 2
Text: Fabiana Radinieri
Duration : 10 minutes

The famous "espresso" is the most emulated beverage abroad; Italian culture is contained in half a cup.

Through an exchange of Italian language lessons, Espresso aims to tell, in a symbolic and ironic way, the typical and dominant vision on Italian through the eyes of a foreigner.

The love told by the meeting of ... and .... It is a love in which courting, through looks and gestures, echoes. The gestures are also as passionate as in language.

The stereotype of the Italian who raises his voice and gesticulates waving his arms up in the air is so intrinsic that Bruno Munari created a dictionary of Italian gestures.

The emphasis of our language is also reflected into worshipping, into prayer which become occasions of celebration, of popular rituals full of tradition.

It is true that all this might seem an exemplification of our culture but it is what actually makes us Italians.

We are a blend of love, party, noise and warmth.

So we invite you to let yourselves get wrapped...

The famous "espresso" is the most emulated beverage abroad; Italian culture is contained in half a cup.

Through an exchange of Italian language lessons, Espresso aims to tell, in a symbolic and ironic way, the typical and dominant vision on Italian through the eyes of a foreigner.

The love told by the meeting of ... and .... It is a love in which courting, through looks and gestures, echoes. The gestures are also as passionate as in language.

The stereotype of the Italian who raises his voice and gesticulates waving his arms up in the air is so intrinsic that Bruno Munari created a dictionary of Italian gestures.

The emphasis of our language is also reflected into worshipping, into prayer which become occasions of celebration, of popular rituals full of tradition.

It is true that all this might seem an exemplification of our culture but it is what actually makes us Italians.

We are a blend of love, party, noise and warmth.

So we invite you to let yourselves get wrapped...

Sovraccarico (2022)

Choreography and Set Concept: Damiano Scavo
Dancer: 1
Duration : 20 minutes

What would you do if you had to choose for someone else?
What would your priorities be?

When a person's life crosses another's there are consequences, teachings, wounds or leaps of joy, certainly experiences of infinitesimal nuances, and we know this from the beginning.

Be aware of what you can do and the responsibility you have on the surrounding world, this does not mean changing your actions, but taking note of it.
Then take action.





What would you do if you had to choose for someone else?
What would your priorities be?

When a person's life crosses another's there are consequences, teachings, wounds or leaps of joy, certainly experiences of infinitesimal nuances, and we know this from the beginning.

Be aware of what you can do and the responsibility you have on the surrounding world, this does not mean changing your actions, but taking note of it.
Then take action.





Yes, I am (2022)

Choreography and Set Concept: Marco Laudani
Light design: Marco Laudani
Costume design: Claudio Scalia
Music: Elvis Presley
Dancer: 1
Duration : 10 minutes

When the brain is like a cell that continues to double then we can believe that we are anyone even Elvis Presley.

Dissociative identity disorder is a defense mechanism developed by the brain to protect the person who has suffered severe trauma and which causes him to enter a kind of psychological coma.

The result is the development of many "others" who cyclically take control of the individual's behavior.

When the brain is like a cell that continues to double then we can believe that we are anyone even Elvis Presley.

Dissociative identity disorder is a defense mechanism developed by the brain to protect the person who has suffered severe trauma and which causes him to enter a kind of psychological coma.

The result is the development of many "others" who cyclically take control of the individual's behavior.

Cactus (2021)

Choreography and Set Concept: Damiano Scavo
Costumes: Damiano Scavo
Performers: 3
Duration : 15 minutes

Inside every living being there is a great potential that can assume many shapes, it can be refined by ourselves and can define itself independently, without us realising it.

Cactus tells of the many facets that a personality can assume, of how trying to find an idea consistent with our vision of ourselves, the mind can travel and reach more or less rational conclusions, dictated by the plurality of the different I's with which we live.

The purpose of Cactus is to encourage you to explore yourself without filters, making space for the many potentialities that we ignore, even if self-judgement often raises censorship.

Fundamental for the fulfilment of the thought is the choice to stage three different artistic forms, all representing a single mind.

Even more important is how they go beyond their own patterns, how, regardless of the role we try to play, often a different part of us emerges, one of the many belonging to a single puzzle of which every day we can better understand a small piece.

"Sometimes you just need to look inside, like a cactus in the desert."

Inside every living being there is a great potential that can assume many shapes, it can be refined by ourselves and can define itself independently, without us realising it.

Cactus tells of the many facets that a personality can assume, of how trying to find an idea consistent with our vision of ourselves, the mind can travel and reach more or less rational conclusions, dictated by the plurality of the different I's with which we live.

The purpose of Cactus is to encourage you to explore yourself without filters, making space for the many potentialities that we ignore, even if self-judgement often raises censorship.

Fundamental for the fulfilment of the thought is the choice to stage three different artistic forms, all representing a single mind.

Even more important is how they go beyond their own patterns, how, regardless of the role we try to play, often a different part of us emerges, one of the many belonging to a single puzzle of which every day we can better understand a small piece.

"Sometimes you just need to look inside, like a cactus in the desert."

H(and)s (2021)

Choreography and Set Concept: Claudio Scalia, Marco Laudani
Light design: Marco Laudani
Costumes: Theama for dance
Music: Oliveray
Dancer: 1
Duration : 10 minutes

Sometimes, the vivid images from the past keep asking explanations in the present; meanwhile, from the well of Memory, a dark and evanescent cavity, only pale images emerge, looking like simulacra.

Thus, the present calls info question the past as before a court of appeal.

Actually, one wonders if it is ever possible if small and big things in life can present themselves to memory, exactly in the same order as they were lived.

In h(and)s, the dancer lets herself get driven by her own hands, a "window of the mind", within a path of rediscovery of her past.

Mature and conscious movements get mixed with tender and juvenile ones, making the performance timeless and abstract.

When a nusery rhyme echoes, the space gets a shape and the happiest memories come back: the caresses of a mother, the attempts to pronounce the First sentences and to take the first, uncertain steps.

These early triumphs, so easily forgotten, are, however, the natural basis of self-confidence.

Sometimes, the vivid images from the past keep asking explanations in the present; meanwhile, from the well of Memory, a dark and evanescent cavity, only pale images emerge, looking like simulacra.

Thus, the present calls info question the past as before a court of appeal.

Actually, one wonders if it is ever possible if small and big things in life can present themselves to memory, exactly in the same order as they were lived.

In h(and)s, the dancer lets herself get driven by her own hands, a "window of the mind", within a path of rediscovery of her past.

Mature and conscious movements get mixed with tender and juvenile ones, making the performance timeless and abstract.

When a nusery rhyme echoes, the space gets a shape and the happiest memories come back: the caresses of a mother, the attempts to pronounce the First sentences and to take the first, uncertain steps.

These early triumphs, so easily forgotten, are, however, the natural basis of self-confidence.

Placebo (2021)

Choreography and Set Concept: Claudio Scalia
Texts: Fabiana Radinieri
Costumes: Theama for dance
Music: Piano concerto no.23, Vienna Philharmonic Orchestra (Mozart), Alfio Antico
Dancer: 1
Duration : 12 minutes

The self gets built up in a continuous relational Dynamic, in an infinite process of acceptance and assimilation of what sorrounds us. Thus, the others represent a fruit from which we can learn new ways of seeing and discovering ourselves.


The world, though ignoring It, holds a weapon... the judgement.

A silent weapon which, undisturbed, Is able to scratch our own being.

A light, simple to use weapon that anyone can use.


Judgement is built through words, glances, simple attitudes.

Being able to get out from the crosshairs of judgement means being brave, very brave, accepting what we really are.


Self-love is intrinsic in that feeling of freedom of those who are able to express themselves in all of their facets.


The lightness of those who are not afraid of looking at themselves and to the others and who are not scared of saying "I am fine".


Placebo aims to denounce the denial of simply BEING.

Placebo is ACCEPTING YOURSELF ... for what you are, how you love and how you choose to exist.

The self gets built up in a continuous relational Dynamic, in an infinite process of acceptance and assimilation of what sorrounds us. Thus, the others represent a fruit from which we can learn new ways of seeing and discovering ourselves.


The world, though ignoring It, holds a weapon... the judgement.

A silent weapon which, undisturbed, Is able to scratch our own being.

A light, simple to use weapon that anyone can use.


Judgement is built through words, glances, simple attitudes.

Being able to get out from the crosshairs of judgement means being brave, very brave, accepting what we really are.


Self-love is intrinsic in that feeling of freedom of those who are able to express themselves in all of their facets.


The lightness of those who are not afraid of looking at themselves and to the others and who are not scared of saying "I am fine".


Placebo aims to denounce the denial of simply BEING.

Placebo is ACCEPTING YOURSELF ... for what you are, how you love and how you choose to exist.

Baroccocò (2020)

Choreography: Marco Laudani
Dramaturgy: Sergio Campisi
Light design: Marco Laudani
Costumes: Theama for dance
Music: Lino Cannavacciuolo
Dancers: 4
Duration : 20 minutes

Sicily, 1693. An unprecedented violent earthquake comes down like a plague to the ancient and fabulous land that is sculpted by wind, volcanoes and sea and where the never-ending conflict between different cultures so scary for the modern world, gave the land unique and fascinating character.

Folded but never broken, Sicilians, with their indomitable spirit, decide to restart, to take care of their land, to rebuild their cities and villages.

In that way the baroque was born in Sicily, an imperfect and irregular pearl with all its overloaded, striking and gorgeous forms, very often considered as extreme with bad taste and even worthless.

A journey through which we discover the way in which Sicily rebuilds its own land, making man lose his privileged position in the centre of the creation; with a new curiosity about the nature and with the awareness of all the tricks inside which the senses can fall, because astonishing the spectators, their senses and their emotions becomes a means and not an ending.

Sicily, 1693. An unprecedented violent earthquake comes down like a plague to the ancient and fabulous land that is sculpted by wind, volcanoes and sea and where the never-ending conflict between different cultures so scary for the modern world, gave the land unique and fascinating character.

Folded but never broken, Sicilians, with their indomitable spirit, decide to restart, to take care of their land, to rebuild their cities and villages.

In that way the baroque was born in Sicily, an imperfect and irregular pearl with all its overloaded, striking and gorgeous forms, very often considered as extreme with bad taste and even worthless.

A journey through which we discover the way in which Sicily rebuilds its own land, making man lose his privileged position in the centre of the creation; with a new curiosity about the nature and with the awareness of all the tricks inside which the senses can fall, because astonishing the spectators, their senses and their emotions becomes a means and not an ending.

AFRICA (2019)

Choreography and Set Concept: Claudio Scalia
Light design: Claudio Scalia
Costumes: Gabriella Palomba
Music: Armand Amar, Jaap Blonk
Dancers: 4
Duration : 50 minutes

"You, creators of your destiny,
careless for tomorrow
.
You unaware of the greatness of the nature.
Men, already defeated,
against Mother Earth ".


Once again the nature 'raises its voice' against the man who considers himself the absolute owner of this place where he is just a temporary guest, it rebels against the abuse of its own resources and against the pollution of its soul.

Pure land still exists, shelter for all good souls where the beauty is transformed in a bridge between the sky and the land and there the spirituality becomes tangible: AFRICA is created from four elements which give life to the authentic matter, it is the place where the overall existence is full of joy.

Here a fire burns, purifier and vivifying which encloses in itself the principle of the existance, a river flows to the bowels of the earth, solid and rich and the air we breathe is a life energy.

AFRICA represents a last chance of re -flowering for our agonizing planet and reminds us that the life of the Universe is a perpetual cycle to be respected.

"You, creators of your destiny,
careless for tomorrow
.
You unaware of the greatness of the nature.
Men, already defeated,
against Mother Earth ".


Once again the nature 'raises its voice' against the man who considers himself the absolute owner of this place where he is just a temporary guest, it rebels against the abuse of its own resources and against the pollution of its soul.

Pure land still exists, shelter for all good souls where the beauty is transformed in a bridge between the sky and the land and there the spirituality becomes tangible: AFRICA is created from four elements which give life to the authentic matter, it is the place where the overall existence is full of joy.

Here a fire burns, purifier and vivifying which encloses in itself the principle of the existance, a river flows to the bowels of the earth, solid and rich and the air we breathe is a life energy.

AFRICA represents a last chance of re -flowering for our agonizing planet and reminds us that the life of the Universe is a perpetual cycle to be respected.

Seven Years (2019)

Choreography and Set Concept: Marco Laudani
Light design: Marco Laudani
Costumes: Gabriella Palomba
Music: Forndom, Armand Amar
Dancer: 1
Duration : 10 minutes

For seven years in a row, Gyōja athletes perform a tough test to attain enlightenment, walking down more than 46 thousand kilometers.

A test made up of discipline, patience, perseverance, concentration, kindness and transcendental knowledge, step by step.

Gyōja athletes experience feelings of emptiness and transparency, by purifying thoughts, making them neutral, without judgments.

While running and walking, they learn how to rest body parts entering into a state of meditation.

They don’t run to become faster or to win something. They simply dance, running and letting themselves go.

At the end, the monks become one with the mountain throughout the long path, overcoming every obstacle and discovering interior peace, that mirrors the exterior.

During these seven years, the stars, the sky, the rocks, the plants and the trees become companions of the monks’ path, who develop the ability of predicting time through the shape of the clouds, the direction of the wind and the smell of the air.

They know when the birds and the insects start singing and they are surprised, as if it was the first time, in seeing the sun and the moon dancing at every twilight.

“Heat, open hearts and humanity are the most admirable things of these monks.

Facing death repeatedly, they feel alive in every moment, full of gratitude, joy and grace.

They have a lot to teach: they always seek for the best, without looking back, taking care of the others and keeping their mind focused on their path.”

For seven years in a row, Gyōja athletes perform a tough test to attain enlightenment, walking down more than 46 thousand kilometers.

A test made up of discipline, patience, perseverance, concentration, kindness and transcendental knowledge, step by step.

Gyōja athletes experience feelings of emptiness and transparency, by purifying thoughts, making them neutral, without judgments.

While running and walking, they learn how to rest body parts entering into a state of meditation.

They don’t run to become faster or to win something. They simply dance, running and letting themselves go.

At the end, the monks become one with the mountain throughout the long path, overcoming every obstacle and discovering interior peace, that mirrors the exterior.

During these seven years, the stars, the sky, the rocks, the plants and the trees become companions of the monks’ path, who develop the ability of predicting time through the shape of the clouds, the direction of the wind and the smell of the air.

They know when the birds and the insects start singing and they are surprised, as if it was the first time, in seeing the sun and the moon dancing at every twilight.

“Heat, open hearts and humanity are the most admirable things of these monks.

Facing death repeatedly, they feel alive in every moment, full of gratitude, joy and grace.

They have a lot to teach: they always seek for the best, without looking back, taking care of the others and keeping their mind focused on their path.”

AMUNINNI(2018)

Choreography and Set Concept: Marco Laudani
Light design: Marco Laudani
Costumes: Marco Laudani
Music: Ada Milea
Dancers: 2
Texts: Umberto Galimberti
Duration : 15 minutes

Betraying a love, betraying a friend, betraying an idea, betraying even your homeland means detaching from a part that belonged to us and create a new space, unknown, unidentified.

In fact, We are born trusting the idea that someone will feed us and love us, but we can grow and become ourselves only if we break this idea, if we do not remain prisoners, if we would be able to state to those who first loved us and to all those who came after them : "I'm not like you want me".

In every love, from parent’s love, partner’s love, friend’s love , home’s love, there is a form of possession that stops our growth and forces our identity to be constituted only within that enclosure, fidelity that we must not betray.

But every fidelity that does not know betrayal or even hypothesizes the possibility of it, has too much fear of living with our own strength.

Betraying a love, betraying a friend, betraying an idea, betraying even your homeland means detaching from a part that belonged to us and create a new space, unknown, unidentified.

In fact, We are born trusting the idea that someone will feed us and love us, but we can grow and become ourselves only if we break this idea, if we do not remain prisoners, if we would be able to state to those who first loved us and to all those who came after them : "I'm not like you want me".

In every love, from parent’s love, partner’s love, friend’s love , home’s love, there is a form of possession that stops our growth and forces our identity to be constituted only within that enclosure, fidelity that we must not betray.

But every fidelity that does not know betrayal or even hypothesizes the possibility of it, has too much fear of living with our own strength.

Requiem For You (2018)


Choreography and Set Concept: Gennaro Maione
Light design: Gennaro Maione
Dancers: 5
Duration: 35 minutes

The structure of the work aims at bringing on stage a liturgical research of expressive and dancing bodies. A group of multiple personalities that communicate and interact with each other.

Perhaps they are lovers, strangers or simple artists in search of their own ego.

Sometimes aware of their strenght and importance, others petrified by the constant evolution of today's society.

Requiem for you is a dedication to any human being. A jump into the world of humanity, a place where human relationships origin and intersect under any circumstance.

This is the creation of a coral dance, in which the body and the person with its qualities are placed in the foreground.

The movement, together with the emotional memory, is the matrix of body change in every place and time. It is stronger than words: a symbolical feature of our everyday life, that is itself an element of power and unicity, as well as a source of inspiration for the chroreographic creation, divided between physicality and spirituality, mobility and plasticity, doubts and certainties.

It's all about affections, daily life crises, questions and answers.

A vital journey divided into phases in evolution:

LUNAR PHASE - beginning

TERRESTRIAL PHASE - birth and understanding / knowledge / discovery of the world

HUMAN PHASE - emotional and sentimental approach

UTOPIAN PHASE - the dream

Life, love, hope... The five different individualities born, grow and dream together under the same beam of light, each one of them with their own diversities and qualities.

These elements make up the motor flow of every human being. They enrich the individual and its traits.

The work origins as a further " expressive exigency/need", demonstrating that there can be a new communicative voice, along with a new property of body language connected with that desire of interaction with the rest of the world through the use of movement and gesture, giving importance to its personality, expressive capacities, memory and ability of listening.

For this reason I wanted to create a "Requiem" in the form of dance, dedicated to man: to its birth, evolution, regression, joys, fears and hopes.

A preyer to talk about the past, live the present and hope in a future against every moral and physical tyranny / injustice of contemporary society. The idea is to imagine a new concept of “Humanism 2.0", without erasing in history what have always been the wills, characteristics and singularities of the man who remains silent, but only apparently, in front of the changes in the world. In fact, he lives with a major gratitude and awareness of his own being in the present, in this new era of contemporaneity.

The structure of the work aims at bringing on stage a liturgical research of expressive and dancing bodies. A group of multiple personalities that communicate and interact with each other.

Perhaps they are lovers, strangers or simple artists in search of their own ego.

Sometimes aware of their strenght and importance, others petrified by the constant evolution of today's society.

Requiem for you is a dedication to any human being. A jump into the world of humanity, a place where human relationships origin and intersect under any circumstance.

This is the creation of a coral dance, in which the body and the person with its qualities are placed in the foreground.

The movement, together with the emotional memory, is the matrix of body change in every place and time. It is stronger than words: a symbolical feature of our everyday life, that is itself an element of power and unicity, as well as a source of inspiration for the chroreographic creation, divided between physicality and spirituality, mobility and plasticity, doubts and certainties.

It's all about affections, daily life crises, questions and answers.

A vital journey divided into phases in evolution:

LUNAR PHASE - beginning

TERRESTRIAL PHASE - birth and understanding / knowledge / discovery of the world

HUMAN PHASE - emotional and sentimental approach

UTOPIAN PHASE - the dream

Life, love, hope... The five different individualities born, grow and dream together under the same beam of light, each one of them with their own diversities and qualities.

These elements make up the motor flow of every human being. They enrich the individual and its traits.

The work origins as a further " expressive exigency/need", demonstrating that there can be a new communicative voice, along with a new property of body language connected with that desire of interaction with the rest of the world through the use of movement and gesture, giving importance to its personality, expressive capacities, memory and ability of listening.

For this reason I wanted to create a "Requiem" in the form of dance, dedicated to man: to its birth, evolution, regression, joys, fears and hopes.

A preyer to talk about the past, live the present and hope in a future against every moral and physical tyranny / injustice of contemporary society. The idea is to imagine a new concept of “Humanism 2.0", without erasing in history what have always been the wills, characteristics and singularities of the man who remains silent, but only apparently, in front of the changes in the world. In fact, he lives with a major gratitude and awareness of his own being in the present, in this new era of contemporaneity.

Divina (2017)

Choreography and Set Concept: Marco Laudani
Light design: Marco Laudani
Costumes: Marco Laudani
Music: Iva Bittovà, Meredith Monk
Dancers: 3
Duration : 50 minutes

Is there a strongest need than the feeling of prominency and fulfillment?
We are all endowed with a primeval instinct: the assertion of our own existence.

This instinct reveals itself with the first kick in our mother's womb, in our first crying when we enter this astounding world, inhabited by billions of people, all of whom are absorbed in roaring out louder and louder: "I AM HERE".

I exist.

Every step we make, first tiptoeing then rushing, leads us inexorably to affirm and confirm at any cost who we are or who we want to be.

DIVINA opens all doors, viewers' senses and perceptions will add a unique tinge to the vibrant colors of this picture.





Is there a strongest need than the feeling of prominency and fulfillment?
We are all endowed with a primeval instinct: the assertion of our own existence.

This instinct reveals itself with the first kick in our mother's womb, in our first crying when we enter this astounding world, inhabited by billions of people, all of whom are absorbed in roaring out louder and louder: "I AM HERE".

I exist.

Every step we make, first tiptoeing then rushing, leads us inexorably to affirm and confirm at any cost who we are or who we want to be.

DIVINA opens all doors, viewers' senses and perceptions will add a unique tinge to the vibrant colors of this picture.





Mani Giunte (2017)

Choreography and Set Concept: Roberta Ferrara
Costumes: Roberta Ferrara
Music: Awir Leon
Dancers: 4
Duration : 20 minutes

We walk through this path with joined hands. We are not afraid. We pray, we thank, we beg.

Our hands tell, count, stop, pull, breath our fingers.

We hear the wind, we can grasp it and we sense the power in a fist.

Santiago floor us, my thought is full to the brim.

I empty, my body vanishes and I'm not afraid about how time flies.

It's like awaking into the sun; I feel this heat, the silence, the remembrances.

I walk this path barefoot and I run on landscape expanses, I grab liberty and run, I run toward you with joined hands so that my body can observe his center of gravity, can feel the end of feet, the end of hands.

 My steps tell what I am today, what I was, what I will be.

And how a flock of birds can cause a thunderstorm, I take my body and give this instrument of flesh to the world in order to generate storm, peace, love, pain, gift. I live, today I live, tomorrow... I reborn.

I devote all of this to any man that no longer exists.

As an erupting volcano, with magma, I try to shape me, to be alive, to turn in a color. I don't fear. I vent.

You can lie down to the ground now, start running to wasting, you can, if nothing else, be silent.

"Far beyond the ideas of right or wrong there is a field. I'll be waiting you down there”

We walk through this path with joined hands. We are not afraid. We pray, we thank, we beg.

Our hands tell, count, stop, pull, breath our fingers.

We hear the wind, we can grasp it and we sense the power in a fist.

Santiago floor us, my thought is full to the brim.

I empty, my body vanishes and I'm not afraid about how time flies.

It's like awaking into the sun; I feel this heat, the silence, the remembrances.

I walk this path barefoot and I run on landscape expanses, I grab liberty and run, I run toward you with joined hands so that my body can observe his center of gravity, can feel the end of feet, the end of hands.

 My steps tell what I am today, what I was, what I will be.

And how a flock of birds can cause a thunderstorm, I take my body and give this instrument of flesh to the world in order to generate storm, peace, love, pain, gift. I live, today I live, tomorrow... I reborn.

I devote all of this to any man that no longer exists.

As an erupting volcano, with magma, I try to shape me, to be alive, to turn in a color. I don't fear. I vent.

You can lie down to the ground now, start running to wasting, you can, if nothing else, be silent.

"Far beyond the ideas of right or wrong there is a field. I'll be waiting you down there”