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We are given the time to look at it properly, in silence, allowing it to gradually come to life: now the eye sees a ripple on the sand, then the depiction of the foam on the waves that had gone unnoticed at first.

At times from a more formal perspective 2: Dialogues with Lucinda, 4: Still Life, 5: Echo , at others with a more dramatic approach 7: Triple Moon, 8: Metamorphoses, 3: The Garden , Beutler uses the ability of the form to tell itself, in itself, infinitely, to her advantage.

Or at least, it seems clear Nicole Beutler sees it that way.

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Three mythical, female deities are physically explored, but instead of playing the goddesses, the dancers play themselves, infused with the elements of their symbolism.

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The first two can be regarded as a positioning, a prism for looking at the third.

Within it, images start to appear, a number and a type of people to cast, a first inspiration for stage design, lighting, music, costumes.