“Sehnsucht” is a key word of the German romantic spirit, which embodies one of the typical concept of the romantic culture, rendered in English with “addiction to desire”. Heidegger, on the other hand, identifies a different meaning, since Sucht is to be understood in its original meaning as “pain”: “Nostalgia (Sehnsucht) is the pain of the proximity of the distant” (Who is Nietzsche’s Zarathustra?, in Saggi e discorsi, Mursia, p.71).

“Sehnsucht” means reaching the limit which separates us from each other, finding it, showing it, touching it. Lonely but, at the same time, dependent bodies investigate, in a common space, their own limits in relation to body, space, time and relationships. The dancers enter a movement system in which body, space and time become the coordinates of choreographic scores characterized by unusual directions, stops, accelerations, suspensions, falls and balances.

The music, composed for the performance by Filippo Ripamonti, has the role of defining the space created by the dancers, also through the use of reverberations and tracing of sources. Music expands to break these boundaries with anthropomorphic music, no longer linked to the distance between molecules but to the distance between people.

The performance tries to overcome the choreographic case itself, through an instant composition that becomes different every time. The dancers enter the choreographic case made on space and time, with their own movement vocabulary, to write different relations, different choreographies, searching for contact with the other, reconciliation, union.

The movement flow in which the performers immerse themselves evolves and slowly reveals the internal relationships: the dancers question their limits, paying constant attention to the group, the changes, the instant reactions.

Inside this system, the bodies look for and find each other, exploring a new kind of contact, a new way of living the relationship in which the audience recognizes itself, living the performative act with hope and greed.