The authoress writes about the beginning of the work with the group of the Dances of the Labyrinth, interweaving the personal reflections with the technical explanations of the methods of work and giving some resources for the research that accompanied 'reading' vase painting through the body. She also writes about the myth that became the basis for the performance 'Theseus in the Labyrinth' and explains interpretative traits that constitute the 'reality' of the performance.
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