‘Lettre d’amour’ is a duett of desire for the flesh and the discovery of an appetite for all that is absent. One hour in length, this dance-theatre work is a collaboration between Pau Aran, dramaturg Alberto Conejero, actress Consuelo Trujillo and texts by the Peruvian poet César Moro.

Pau Aran asks himself: How do I dance for, towards, and about, someone who is absent? How do I dance and express that which no longer exists? How do I dance after I have already danced an entire chapter? How do I dance now that my dance-card is full? How do I dance a new beginning?

This duett is born from all these questions, all of the moments of absence gathered in the body memory, no longer knowing where, or with whom, or how to dance forward. It is grounded in the vestiges of the road already travelled and in the unknown road marked ahead.

The source of the inspirational texts comes from the poet César Moro (Lima, 1903-1956), who was the founder of a poetic galaxy, as passionate and profound as it is unknown to many, even today.

He lived his short life as a fevered mystic, alien to all canons and prescriptive modes. Moro burst through the seams of the world, inaugurating a new language. All of his work has the temperature of an electric and surrealist fever. From Lima to Paris to Mexico and back to Lima, the geographic coordinates of his biography reveal his condition as a mutable creature and migrant. His writings are a kind of lightning conductor for all of the mysteries of the human condition, and above all, of the mysteries of love.

The dramaturg, Alberto Conejero has extensively explored the work of César Moro, especially ‘La tortuga ecuestre’ (1938), his only text in Spanish; ‘Cartas de amor a Antonio’ (1939); and ‘Lettre d’amour’ (1942); as well as some biographical details of the Peruvian creator’s life (especially his relationship with dance, which was truncated by injury), and those of Pau Aran himself.