Swiss choreographer Yasmine Hugonnet explores, with a pinch of irony, the mysterious art of ventriloquism, translating her research into an impressive dance cabaret. On stage, in addition to the voices and movements of the four dancers, the many female voices who, for centuries and centuries, have been unable to tell their own story.

The art of ventriloquism has always fascinated everyone. In the past it was thought that people capable of mastering this mysterious technique were possessed by the devil, or that they were witches and sorcerers. In her latest work, Yasmine Hugonnet explores the history of this art and translates the fruits of her extensive research into an extraordinary dance cabaret in which the voices, singing and movements of the four performers on stage - including Ruth Childs, an Anglo-American dancer and performer, now Swiss by adoption, and Hugonnet herself – intertwine. Together they form a chorus, an overlapping of multiple languages which, playfully, gives life to experimentation: what happens when you make a person move and they begin to speak with a voice that is not theirs? And what happens when a hand begins to converse or when a gesture resonates, like an echo, from one body to another?
Just as in matrioske, Russian nesting dolls, the voice is hidden in the deepest part of the body and tells an (extraneous) story, the story of another body and, in particular, that of a female body. Starting from this central theme, the Swiss choreographer not only investigates a fascinating artistic form, but she also gives voice to those who, for many centuries, have been unable to speak and to tell their own story.
A show in which a sense of humour, strangeness and hilarity are all playfully mixed.