With her first duet, Kater­ina Andreou con­tin­ues her invest­ig­a­tions around free choice and the notion of effort. Along with dan­cer Nat­ali Mandila, she devel­ops a sin­gu­lar rhyth­mic­al lan­guage, trans­lated in uni­son by two twin bodies. 

Zep­pelin Bend ori­gin­ates in the hours of isol­a­tion imposed by the Cov­id-19 crisis, and attests to the friend­ship between Kater­ina Andreou and Nat­ali Mandila. The Greek cho­reo­graph­er, who is asso­ci­ate artist with the Caen CCN, con­tin­ues her explor­a­tion of phys­ic­al prac­tices and ques­tions free choice on stage again. How do we pre­pare for a par­tic­u­lar per­form­ance, for a par­tic­u­lar struggle, which efforts are made and to what end? These ques­tions anim­ate the sta­ging and the min­im­al­ist­ic sceno­graphy: a mat and two ropes, which recall the zep­pelin node the piece is named after, and which is used to con­nect­ing two ropes, par­tic­u­larly for air­ships. Through this rhyth­mic­al and acro­bat­ic per­form­ance, Kater­ina Andreou and Nat­ali Mandila build a phys­ic­al lan­guage based on effort and the vari­ous states it induces, and they con­nect dances, actions and sounds that engage both a great dis­cip­line and a psy­che­del­ic ima­gin­a­tion. They attempt to con­nect with real­ity while con­cen­trat­ing on the cre­at­ing bod­ies and try­ing to find moments of freedom.