"Encaje" is a piece about hypocrisy, and it is inspired by the body of work of writer Anaïs Nin. Working with two concepts, the "diary" and the "radio". Just as the novelist describes her life as indescribable - since she changes every day, is prone to different moods and never seems to be able to fully fathom her true self - Judith Sánchez Ruíz recaptures the snapshot contents of an archive of her own days approaching dance like a "diary of movement". It is the perception and the expression of a collection of everyday material, of unpredictability, emotions and constant changes, with which Sánchez Ruíz reinvents the untold, the undisclosed presence of disorder and vulnerability. The "radio" concept lets the body jump from one state to another as if someone turned the dial on an old radio trying to find a new frequency, thereby provoking a clash of opposing facts within one life, one body. "Encaje" is the most recent solo piece by the dancer, choreographer and improvising artist from Cuba. Edivaldo Ernesto's "Tears", conceived and choreographed in 2015, is the journey of a man for whom rules turn into uncomfortable characters. He is trapped between fear and wonder, feeling small and lost, afraid of vague feelings, plagued by doubt. The 40-minute solo performance by the Mozambican dancer, choreographer and lecturer darts between implosion and explosion. He flings himself from claustrophobic corners into ever-changing situations: reflections and reactions, dynamics and rhythms, unpredictable bursts of energy. In the same breath and with great sensitivity he contrasts figures of movement with the accompanying music. This makes for an unbreakable tension between performer and audience.