We often find improvisation in performance situations in music, but less frequently in dance and performance. However, there is a whole history of improvisation that has been happening in the field of dance over the last few decades. Elizabete Francisca, Mariana Tengner and Vera Mantero are experienced improvisers who intend to deepen this experience through a multidisciplinary framework, not only through the practice of improvisation in performance and its pedagogy, but also through its theoretical analysis, promoting thought, debate and publication.

Improvisation as the act of composing in real time. Composing in an irreversible way, in the tangled risk of the impossibility of redoing. Doing it at every moment, decisively, in cadence, each movement, each sound, responding to the instantaneous creative impulse. And in this, subverting roles, giving those who see and hear the possibility of seeing again, reflecting on hearing, enabling perception. The audience in the place of accomplice in the rehearsal, and the others in the place of the stage enjoying, watching in a doing. To compose here is to do it seamlessly, without going over it, on stage. Composing in emotion and watching rationally.