Antonio Ruz studied in Córdoba and later in Madrid, at Víctor Ullate’s Dance School, joining short after the company and staying in it from 1993 to 2001. He has developed his professional career in different places: Geneva Great Theatre Ballet from 2001 to 2004; Lyons Opera Ballet from 2004 to 2006 (being Sylvie Guillem’s partner in Mats Ek’s Carmenperformed at the Theatre du Chatelet in Paris); and National Dance Company from 2006 to 2007. He works as a guest artist at Gilles Jobin’s company and at Sasha Wartz and Guest Company in Berlin, currently collaborating with them as a choreographer and a dancer. He has been guest choreographer and dancer at Flamenco XXI, opera café y puro (Reafael Estévez, Nani Paños). Among his choreographies 1 Calvario, Heidi, Cebolla nf ognion m, Pirilamo, and A can be mentioned.

John Corigliano drew inspiration on Beethoven’s Seventh Symphony’s Second Movement for his Fantasia on an ostinato for solo piano. The ostinato, a repetitive and always identifiable melody, appears in an obsessive way in this play.

Just as in the musical composition, the choreography takes place in two different parts, with a big silence between them, a sound emptiness filled up with dance.

The choreography runs parallel to this musical language, but being devoid of a plot or a script, it tries to create an expressive visual atmosphere, a corporal abstract landscape. The composition of space, rhythm, and light, helps to set up the theatrical nature of the play. Contrast is the main idea of this performance. On an almost empty stage, the dancers search either individuality or the group, either chaos or calm, and they do it by means of gestures and suggestive images that lead to contemplation.