Created in 2022, co-produced by Teatros del Canal.

“The desire to excel is innate to humanity. Thus, resorting to the simple but with a superhuman technique and effort in the three dancers, Fridman invites us to go beyond our inner limits and to deepen the phrase Know thyself.”

Nuria Ruiz de Viñaspr


A: How are you?

B: …I don’t know if I have any words.

A: Did you enjoy it?

B: It was like I was travelling, I don’t know where, somewhere, with stops but without settling. Time passes and I could keep going.

A: Do you feel danger when you surrender? Are you aware or are you out of control?

The idea is a desire, a commitment and the path is discovered taking into account things that appear. There is a clear centre and then another stimulus appears that gets stronger and stronger until it becomes another centre by creating a dialogue. When I start a dialogue with something, it becomes the centre of my whole life, there is no before or after. I know that the solution exists inside and that it is up to me to be aware enough to discover it. It is a personal challenge to fight for this commitment.

You take me to where I have no control and I don’t accept that, because dropping a structure is a lack of sensitivity!

My work is based on feeling, not thinking, and I want to feel that I can understand it.

My practice is a life commitment. My life can be summarised in one exercise.

Do you trust it?

B: Life isn’t about that! You absolutely cannot control stability.

Why know everything? You can have the intention but it is impossible to meet the expectations of another even if you obsess over it. I like to let myself go and I also believe in falling. Falling is necessary because it means it is unpredictable. If you accept it, you can fly, like taking off in a zeppelin…

A: Were we in a zeppelin?

C: The zeppelin was amazing, I love this part.

A: Which part?

B: In addition, you have to know how to dissociate the intention and the effort involved in holding on, know how to let go and hold between the two. Listening is a fine vertex and you run the risk of burning everything with passion because it is less sensitive.

I was comfortable … but when living together there is always a moment when the other person will think you are lazy.

A: I don’t know why I have to listen to the other person. Look at this! I can control it, full control…

B: Full control is driving you mad, what you need is self-control.

Did you change the mattress? How are you?

A: That’s how I feel… And that’s that!


After the success of Hasta donde…? (2011), Sharon Fridman and Arthur Bernard Bazin begin to specify the essence of their own language. Driven by the need to transmit this essence, they coined the term counterpoint point (punto contrapunto) in their first workshop for professionals in Toulouse. At this time, Arthur Bernard Bazin understood the term meant the precise body points, related to acupuncture, referring to an acupoint (acupunto) responsible for the concatenation of body repercussions on the structure. Meanwhile, Sharon understood it as a point here or there, moved by his desire or obsession to control and maintain the point of contact, staying here or there, in order to explore all its possibilities. Sharon continued to develop this concept throughout all his career by distinguishing between contact to create, in the sense of contact to create a choreography, and contact to practice, in the sense of contact to practice improvising and a learning tool where the Ina practice was originated.

Now, 10 years later and many years of individual searching , Sharon Fridman once again questions his praxis through his reunion with Arthur Bernard in All My Input (2020), where both artists show the technique, explore coexistence with practice, and reflect philosophically on the connections between life and work. In the current situation affected by the Coronavirus, Sharon Fridman invites the public to come together at this show to share an intimate and personal space, a common place here or there, in order to witness the live construction of a creative process built between reality and fiction.

Concept and direction:

Sharon Fridman

Choreography and performance:

Arthur Bernard Bazin
Sharon Fridman
Melania Olcina


Luis Miguel Cobo


Sergio Martínez Vila

Dramaturgy asistant:

Antonio Ramírez-Stabivo

Lights design:

Pilar Valdelvira (AAI)

scenography design:

Juan Bueno Bueno


Mizo, by Inbal Ben Zaken


Iñaki Ruiz Maeso

Scenography construction:

Base ? Altura


Luca Micconi


Marisa Maggi


Kinerama, Alegre Saporta


Elvira Giménez y Ángela de la Torre (Cultproject)

Production & management:

Lola Ortiz de Lanzagorta (New Dance Management)