Based on the work of Messe from Liverpool by Pierre Henry, the work has been built collecting some structural elements and taking possession of a “vocal sense” that the work itself presents. The work is a choreographic continuum without a clear morphology unlike the musical piece which subscribes the five characteristic sections of traditional liturgy. The last section, to which Pierre Henry called Communion, is presented in the choreography as a representation of meaning: the faces and the bodies’ faces; the symbolic time and the “humoured body” time. Underlying to the composition – the sentences, the modules, the segments almost all a consequence in the diachronic level –, there is the idea of an organon which functions and dysfunctions. Maybe here the humour sets in (in the wide sense) and the shape of the bodies in an imbalanced individuality. (Né Barros)