... As a contemporary interpretation of Shakespeare's stage play, the choreography is freed from the familiar linear story - there is no palace, no courtly dances, no specific role design, all the men are Romeo and the women are Juliet. There are fights but they are not the focus. Everything remains open and in flux; who is against whom changes...

The dowry of the piece is its language of movement ... Soft hands gently and nimbly touch the mouth, the eyes, the neck and other parts of the body. Sometimes they clench into fists and touch the body as if seeking another kind of touch. And there are arms that stretch out with a finger sticking out the end, perhaps in a "j'accuse" gesture alternating with arms stretched out to the side, with hands fluttering like wings ...

The language of movement is particularly interesting, especially in the solo passages... and in the dance of the three dancers, who move together to the leitmotif of the piece.