Moving an audience is easy, just as football, a soap opera or an excess of decibels can. Homo sapiens is a fragile, vulnerable being, and we don’t control our emotions. But what’s really difficult is to move spectators through an aesthetic reflection that makes us know and recognize ourselves and change. And that’s just what Asier Zabaleta manages to do: he goes beyond emotions, and creates critical evolution. With social responsibility and private worries (common sense, atavism, religion, identity, pain, grief, the reasons behind a performance) as his starting point, he takes the struggles and contradictions of contemporary life onto the stage; sometimes they’re sharp, other times ironic, but they’re always precise and clear, never getting lost at the crossroads. Boundaries which are also cliffs if you touch them with a fingertip or a toe. Theatrical language is always at the service of deep reflections and stories, and the different disciplines which are added to dance – music, theatre – enrich and strengthen it, both in terms of choreography and the catharsis which dance leads us to. Dance as freeware.

Next time we’re moved, let’s know why we are.