A rapariga que usava saias nos dias de vento — Carolina Batalha

On the stage, a chair and, standing upon it, the longing for the flight of someone who never returns. That body, a seal on someone's soul who is ever living the first love. The movement reflects how everything is lived from an inaugural perspective. The first woman born with two hearts. A monster with a tripartite soul, a tricephalus. She wears the sea and her skirts are the most futile thing she carries on her body. The performer's mimic features show a life of sorrows, they mean a crude taste of pepper. In the arena, the incarnation of a new god or of the old devil. Madness personified in a woman's body, the body of a little girl of sand, which embodies how it is to dismantle oneself in order to save a house that has burned in a world lived by no one. A living portrait of what is solitarily much for everyone: the day she was born was the day simple things died. A piece that attempts to justify an existence marked by the legend of the woman who can never be, and that says it all, doesn't it? Yes. This is the girl who wears skirts on windy days.