This performance is a sort of living organism that encapsulates the performers.

The performers stroll through Lisbon on a day trip, that is both visual and verbal. They engage in small talk and share memories through which they create an archeology of what they mean to one another.

But alongside (or within) the small talk, the bodies project a collective imaginary space where each body area is a potential docking point, of gaps, of visible or invisible spaces, suggesting events outside those bodies, or even creating a third body: a body of bodies.
As bodies ignite, the spoken word opens up to unpredictability. On one hand, it becomes vulnerable to a state where gestures are disarranged, forming a certain incongruous maladjustment. On the other hand, the gestures' activity over the spoken word can paradoxically reveal not a division or cut, but a symbiotic relation between them.
As movement and body meet, the spoken word can make the perceptible imperceptible, allowing us to mentally see things in front of us, to conjecture and to create new meanings.
The body's action encounters multiple ways of organizing itself that throb the small talk,
giving visibility no tjust to the sociological dimension but mainly to the performance's existential, absurd, tragic-comic dimensions, that we sustain in everyday life, in our most trivial daily life.
The body opens cracks in the words allowing us to dive into the abysses, the furies, the monsters, the silences, the dark holes, the utopias and dystopias that resonate within these dialogues that seem to say that everything is alright.