You are a choreographer. You are choreographing movement which neither attempts to conquer the space, nor does it close itself on its own imaginary internality. You seemed to have turned the space inside out, reshaped the empty air around you into a solid block of thick matter. Conversely, your body appears as the empty space, a cut out, a hole. With fast, yet restricted motions of your upper body, you bring the space around you into existence, forcing it to appear in its materiality. You seem to be carving your movement into the thick mass of the space around your. It is a pleasure to watch your moving, as you, unlike so many dance performances, are not invading the space and trying to show your virtuosic dominance over it, by suppressing its materiality, negating its resistance. You are insisting precisely on this resistances. Yet you are not doing this by any obvious means such as by slowing down of your movement or by intensive emphasize on the strain of your movement. You are standing firmly in your position, wearing heavy shoes, locked in your security and safety, yet at the same time, with your upper body you invite, demand, produce this firmness as instability, performing movements which almost suggest that your body is hanging on a thin thread, that it is shaking uncontrollably back and forth. Yet there is nothing of pantomime in what you are doing. Your strategy produces certain dis-embodiment or doubling, a certain de-personalization of your body, its transformation into an object. You emphasize contingency as the basic mechanism of every living organism but what is interesting is that you produce this contingency in the performance, rather than using it as a ready-made. You are choreographing your body as unstable, introducing insecurity and fragility as dramaturgically and choreographically created and chosen. You are Vesna Mačković, dancer and choreographer from Zagreb. You are a dancer with disability. You are Vedran Hleb, director and dramaturg. Your piece is called Intensities.