Having choreographed and staged 'Splendid's' (2000), 'Showroomdummies' (2001) and 'Stéréotypie' (2003), Gisèle Vienne, alongside Etienne Bideau-Rey under the name of D.A.C.M., centred her work on the relationship between natural and artificial bodies, her aim now is to explore this topic further with this year's performance, this time utilizing the idea of an accident reconstruction.

The reconstruction can produce several versions of an event, in order to come as close as possible to the event's reality. The aimof the show's structure is to transcribe perception of events and of their representations, thoughts on reality, which can only be transcribed by a series of hypotheses.

It is thus a case of offering several hypotheses about events that have occurred. The reconstruction is led by a young man, who directs around twenty young girls all aged around ten, played by poseable dolls, a man and a woman - representing both baroque and rock icons.
A rigid structure and a strict organisation, shown in the dramatic structure, the aesthetic aspect, the movements and the use of space will, along with the development of the hypotheses of representations, slowly lead to confusion as to what is the representation and what is its relationship with reality, and to an altered order.
The order and rigidity of situations together with the sexual ambiguity shown by the figures have no other raison d'être but the sheer pleasure found in an harmony that questions order as a moral structure or as an expression of fantasies.
The ambiguous reconstruction hesitates between fact and staged fantasy, it thus highlights the inaccuracy and the subjectivity of the transcription of reality.

For this piece, Gisele Vienne is working with the american author Dennis Cooper on the dramatic structure, as well as, on several monologues, and hence, the relationship between erotic desire, death and crime, as well as fantasy-based imagination and its impossible fulfilment, is being investigated.

Although music and words are at the core of the show, bodies and dolls - and therefore the aesthetic offering - are also at the centre of the show's creation. This is why this show, although an undeniable part of the world of choreography, is indeed derived from a work process that is truly one of a pupeteer.

This work is designed to be an exploration of the emotions that are born of the intricate relationship between dolls, eroticism and death, and of the disturbing stillness of the latter.