Two diametrical upright blind men. Caresses, provocation. Claim the territory, feel the face, test ground. Giving & Receiving. Go forward to take what was once yours to have. A performance to engage.

“Cascas d’OvO” was born from the need to explore transcendent, telepathic communication, as epitome of the relational connection of a couple. It consciously tries not to restrict the interpretative possibilities of the audience. It is intended that the purpose of the piece remain open and emerge exclusively from the real experiences of the performance. This piece offers a new dimension of dialogue. A break from hectic daily life, it immerses the audience in the silence and the music of communicating bodies. It is intended to create a time, in a formal space, to rethink social relations and their forms of expression: the theater as a microcosm of society.

This is not a love story.

We reference René Magritte in his painting La trahison des images (1929), in which the illustration comes into direct confrontation with the text below. Magritte places the viewer in a challenging position, in which he has to choose what statement he believes to be stronger: a figurative representation or the language that denies it. “This is not a love story,” also categorizes the relationship between two men through denial—its synopsis is the first point of tension between the presentation and rejection of the concept. “Cascas d’OvO” creates a tense situation where communication between two characters is a real risk, felt both by the public and the performers. Two blindfolded men fit in the execution of a choreography based on precise movements, rhythmic in nature, musical. The choreography draws down the music, the silences, time, dynamics of movement and drama.

The risk of the two men getting lost in this choreography is the hypnotic line that connects both performers and audience in the same challenge: a virtuoso shot in the dark. However, indecision diverts the performers from their objective task. Any mistake arising in this sequence of staccato movements humanizes these beings, otherwise devoted to their precise chore. The progression of the piece deploys an energetic bubble, piling tension and attention. They become an object of mesmerizing affection. A real communication in a surreal context.