The latest neurological studies points out how the body is the base of any emotion and finally of entire mind configuration. But, paradoxically, we are used to express an emotion - first to be produced in our mind and after to make it visible in the body. In performative arts the tendency is to take this mechanism for grounded or to prefer to totally avoid the work with emotions - to work only at a conceptual level. We want to question this - what's happen if we work with expression, with emotions, but reversing the approach of affectivity by going from the body to the mind, in a way from outside to inside.

Due with ours main approach to start from an exterior situation or inspiration we are very interested in finding references. And this references came especially from the expressionism. And also from a particularly period of time. We find challenging to place ourselves and what we are doing in relation with another period of time with a contemporary approach. Thats why we find interesting the Manuel Pelmus and CNDB proposal to work with Stere Popescu's choreography The Hammer Without A Master.

Another thing that trigger ours interest is the fact that the performance cannot be reconstructed, we have only some traces from that performance. For instance we know that the performance produced controversy and a scandal in Paris. We are interested what produced that collision and eventually how can be translated in our time. So a possible approach of that performance is to question or to try to reproduce the effects. Another thing that we can have are some subjective perspectives about the performance from people that watched or performed in it.