In Rosas danst Rosas, which has in the meantime been filmed under the same title, two sorts of movement are interwoven with each other. On the one hand there are abstract movements that are hard to label, and on the other, more concrete, recognisable gestures are also used: running the hand through the hair, pulling a blouse straight, a sudden turn of the head, etc. These gestures have a direct significance because they refer to everyday movements. It seems as if minor occurrences during the working process have crept into the performance as literal quotations. But it is not only by way of the movements that the performance’s illusory closeness (‘it’s only dance’) is constantly broken open towards a more mundane reality. For instance, in the intermezzo between the first and second parts, the dancers themselves put out chairs and shoes, iron their clothes, and clearly take the time to get their breath back. And again, at the end of the fourth, physically very demanding part, the dancers openly show their fatigue: they stand there audibly panting and visibly sweating on stage.