The main character, Senta, is no longer a woman consumed by romanticism who follows her father’s will. Instead, she is a choreographer rehearsing on stage.
The intimacy of her dreams and thoughts is live-projected, while her gestures on stage traverse attempts at self-perfection and self-reflection.
Fragments from Shulamith Firestone’s “The Dialectic of Sex” and the music of Schubert and Ravel are used as performative tools
to contemplate the fictionalization of history and the idea that history can be fictional.