Gestures of the performers reminiscent of an incantatory scene where everyone speaks in a common movement partition gestures are meditation, intense prayer, selflessness absolute. The obvious choreographic references are those of Noces Stravinsky and Totentanz Mary Wigman. A women's choir perform identical actions that depart from their bowels in heaven incessantly. Sweet and violent gestures alternate as a breathless trance that captures body. Another fresco is available with the arrival of a walk almost military men. For these two tables, symmetry and rhythm prevail.
The gesture is imbued with a lyrical expressionism in which the purpose is not to escape the wild world but to the spirituality of nature and the inner world CS

The visual and musical aesthetics of the program is characterized by two themes in force between 1900 and 1920: the exaltation in nature, resulting in an aesthetic similar to that of artists of ancient Greece, and the birth of movements women (in politics and the arts). Inspired by the work of Nadar, Man Ray and Matisse, the aesthetics of this program unfolds according to the principles of "free dance" as defined in these terms in the Writings on dance (1927) by Isadora Duncan: "I am me inspired by the movement of the trees, waves, clouds, reports that there are between passion and the storm, between the breeze and gentle and I always try to put in my movements a little of this divine continuity which gives to the whole of nature, its beauty and life. "C.S.