Iro places the multiple dimensions of the dancing body at the centre of her quests: the body as a field of knowledge, but also as a tool for tracing movement through acoustic stimuli and singular on-stage experiments. Her approach extends beyond the way in which dance perceives and represents the body and the experiences that stem from it to examine in depth the necessity of certain structural elements —a piece’s musical accompaniment, for instance— in the reception and conception of choreography. This serves to redefine the central role of the body on stage —as something which interprets and is interpreted through movement— in order to transform the viewer from a passive recipient into an active observer of a process which includes both the kinesthetic experience and thought.”

Anastasios Koukoutas