Although "Western History" tells us that during the Renaissance, classical culture served as a key reference for the West as it entered a period of anthropocentrism, classical mythology, also constitutes a universe of miscegenation between the human and the non-human. Putting aside the considerable differences in terms of the historical context, Ovid's Metamorphoses now seem to resonate within the context of the philosophical breakdown of human supremacy.
Using colour to represent the multitude, mala voadora proposes to revisit Ovid’s Metamorphoses presenting a set of 50 performers, each of which has a distinct colour. Arranged on a bench, coloured bodies appear as masses of people and / or as separate individuals. Just as Ovid reconciled the fictional nature of mythological narratives through the realistic rigour with which he referred to the contexts and details of daily life, the performance proposes to reconcile the fantastical narratives of human-looking bodies (Ovid’s text) with the presence of effective "pictorial" bodies - figures of a simultaneously human and abstract nature, simultaneously present and fictional, recognizable and transcendent. At the service of a form to build a speculative history of the World.