Compañía Nacional de Danza

The title of this program, NumEros, is a portmanteau, a combination of two terms, numen and eros, which are, in a sense, opposites but constitute two central elements in dance creation: Eros as embodied vital impulse, creative drive, desiring force that manifests in and through the body; and Numen as intangible presence, poetic inspiration or immanent spirituality that transcends the artist's will. When they come together, NumEros is born, evoking Number as a principle of order, underlying pattern, logic that shapes movement. In this sense, NumEros proposes an articulation between these three fundamental dimensions of thought and creative experience in dance.

Following this concept, this program brings together the work of three choreographers, Georges Balanchine, William Forsythe, and Jacopo Godani, who have developed a formal and numerical choreographic thinking, but in which choreography is constructed as a field of tensions between the rational and the bodily, between the measurable and the ineffable. In these works, the performers work from numerical systems—proportions, repetitions, permutations, sequences—not merely as compositional schemes, but as territories experienced through the body. The body, in this context, is not limited to executing forms: it embodies them, perturbs them, transforms them. Thus, dance becomes a process in which numerical precision meets the excess of desire, and formal abstraction meets the affective power of gesture.

This program is part of a choreographic line of thought where the body is not merely a performer of forms, but an active agent of thought in motion. In this sense, NumEros engages in a dialogue with choreographic tradition through the works of George Balanchine, William Forsythe, and Jacopo Godani, each of whom has addressed, from different aesthetics, the relationship between mathematical structure and bodily energy.Balanchine conceived of dance as "architecture in motion," and his use of music as a spatial score already anticipates a mathematical conception of gesture. Forsythe radicalizes this vision by developing an exploration of the architectural possibilities of the body, breaking down classical movement into vectors, points of tension, and geometric trajectories. Godani, for his part, takes these premises to the physical and visual extreme, constructing compositions where mathematical precision coexists with a visceral, almost animal intensity.