In collaboration with Fondazione Piemonte dal Vivo  Representing big stories through small bodies is what has driven the tradition of puppets for centuries, incorporating the adventures, defeats, vicissitudes or perhaps more simply the lives of people and characters on a small scale. With their bodies, held together by wires and crossed by an iron rod from the skull to the pelvis, the puppets attempt to mirror the human being both structurally and metaphorically. What happens in the choreographic process is a transformation in reverse, the visualization of a thin line that questions the instantaneousness of action, in which the possible declinations of movement in the posture of the puppet can be traced. Starting from this basic image, the dancer enters into the form of the puppet, makes its posture his own, moves independently while remaining moved by something else: he is therefore both puppeteer and puppet of himself. Placed in a narrative dimension, the characterization of the gesture merges with the research of the character that follows the ideal thread of a story, that of Orlando Furioso. A camouflaged story, made of comic and dramatic substrates, of landscapes that appear and disappear at a moment's notice, becomes the occasion to deepen and detail the spatial and temporal dynamics useful to bring out a quality of movement that can recall the puppet. Working on suspensions, on the idea of being moved from the outside, on the reduction of muscular effort in favor of the joints, on the contrast of the force of gravity, the scene inhabited by the puppets moves between tension and lightness, a place where one can explore the stories that each individual brings with him.