Satiri, created by Virgilio Sieni, features two dancers on stage, Jari Boldrini and Maurizio Giunti, accompanied by the music of Johann Sebastian Bach and Naomi Berrill, played by the author herself live with her cello. The Satyr, as Nietzsche says in The Birth of Tragedy (1872) and wisely echoed by Giorgio Colli in The Birth of Philosophy (1975), may be he who looks into the abyss while saying yes to life: not night but rather its spring. The dancer is a person who throws their body into the abyss of the act while saying yes to life. They are “dances on the edge” that mark space, shapes of harmony and empathy, that explode between Dionysian and Apollonian. Studying movement takes away from everyday life those postures that subsequently return in the form of a different language, not a moving form but rather a body that changes colour and, like an auratic nebula, becomes indistinguishable between distance and proximity and operates based on an attention towards spatial tactility that includes us all. A show centred on a force that still today classical antiquity produces on modern humans, who are cynical and lost, that seeks to touch the deep substrate of the spectator’s conscience not only through the art of the gesture, but also through light, the environment and music.