The narrative transcends gender stereotypes, celebrates diversity, and describes the transition from a normalized world to a world of desire, an ambiguous world. My narrative concerns all femininities. Gendered martyrologies, territorializations, transitions, constructions.

[...] there are very few artistic organizations that pave the way toward an "inclusive" policy, and the LGBTQ+ community is treated with caution even within the artistic sphere.

Fermentations have taken place and are still happening; nothing is easy, but it is a way for us ourselves to pass through the ambiguity, complexity, and expressiveness of queer, and to subvert our own selves.

We were embraced by some of the biggest European festivals, such as the Holland Festival and the Festival de Marseille, where both performances were sold out. The French reviews spoke of "a festive vortex," a "baroque Orlando Furioso." In the Netherlands, they noted that the performance "transforms into an ecstatic explosion of energy that no longer speaks through the mind but acts directly upon the senses… stimulating, sexual, but above all evocative…" "All genres have now been shattered: dance, theater, literature, performance, cinema, pop, classical opera."

The reception is deeply moving, as is the way the foreign spectator connects with the Greek myth.