The fundamental basis of the performance is the human body in all its glory and ugliness.
As the human body is at the heart of SOMA, our vocabulary of physical movement within the performance is defined by its abilities and inabilities. We ask ourselves what the human body is capable of expressing and what its limitations are. We use parts of a mannequin in order to shed light on the imperfections of the body contrasting with the seemingly perfect and proportionate pieces of plastic. We conclude that in spite of its flawlessness, the mannequin remains cold, breathless and soulless. The mannequin is meant to serve as a memento to humankind, to reflect upon the current trend of worshiping perfection and outer beauty while ignoring real values and inner beauty. We have become colder, we care less, and without realising it, have transformed into ever more robot-like beings. We are slowly but surely losing what makes us human.
"The main strength of the performance was in its associative play with the viewer, in the names, fleeting gestures and abstraction, stimulating the imagination...."
"Even in this work he does not try to please, or even formally or purposefully impact the audience. His work is sincere and pure.... Not only the space, but also the concept of the whole choreography, the fresh movement vocabulary, the simple but very functional lighting, as well as the props, lead one rather to call it a 'movement installation'"