A pair of dancers barely dressed move very slowly. Her right foot never touches the floor. His left foot neither. Equilibrium sounds good to define All dressed up with nowhere to go, an intense and hypnotic choreography by Giorgia Nardin. She requires a lot of concentration from her performers, the elegant dancers Marco D’agostin and Sara Leghissa, and she demands the same of the audience. If you play her game you will go into a very intimate universe and maybe you will be touched by this proposal, simple and complex at the same time, intriguing and delicate. It looks merely like two bodies moving but if you go deep, you will discover that the authentic issue here is not physical. It’s emotional.

Two immobile individuals stand on one leg at the front of the stage. Like two silent birds waiting on an electric line, their bodies are close, inhabited by imperceptible movements. Everyday gestures start to destabilise their limbs as if their bodies were unwittingly subjected to the movements. Their constraints become clearer: the duet depends on a precarious equilibrium: one foot, the only contact with the floor, a shirt as the sole body covering.

Slowly, the balance shifts: shirts and feet fall to the floor and bodies are exposed. Only now can physical contact exist. The dancers’ delicate proximity seems to act as protection against the intrusiveness of an audience’s gaze upon their bareness and their constant fight to stay upright and balanced. All dressed up with nowhere to go displays, through physicality, how individuals deal with the limits of their reality, and reveals human nature in its beauty, imperfection and fragility.