We own nothing except time,
which is also enjoyed by those who have no home.

Baltasar Gracián, The Courtier

Nostos is a romantic abstraction of homelessness—a story told through the body, its manipulations, gestures, and movements, where the languages of dance and circus-based performing arts enter into dialogue. On stage, two dancer–actors construct and deconstruct the stereotypes of the ordinary life of a couple like many others, oscillating between sharp humour and existential drama.

The duo gradually unravels between boredom and routine, in search of the identities of the two individuals who bring it to life. From this process emerge tableaux that are by turns melancholic and dreamlike, evolving through illusion, play, and the multiplication of objects.

Within this carousel destined for eternal repetition, the two grotesque clown-dancers maintain their balance, spin through the air like tops, smile, challenge one another, and place their trust in each other.

(L. Maimone)