In the choreography are used also other nuances that also respond to this conventional iconography and rhetoric, as it is the case of the use of red, with the consequent multiplicity of readings that entails the use of this colour: blood/passion/life/fire/hell/master r/disease/death/imbalance/jealousy/lacera possession r/hurt/suffocate/destroy/remove/agony/disorder, countering intertextually meanings, and working a metaphorical universe from the organic use of signs, denotantes of a scenic desire that promotes Visuality as part of his iconic speech. Finally of course briefly analyze the set of signs involving the work and the person of the actor/dancer and whose projection is centered in mimicry, gesture and the scenic movement of the interpreter, in short, your kinesis and the role that occupies in the dramaturgy of the piece. Dancers from several generations participated in this ballet for life – as Gil Roman-, endowed with all of such exceptional qualities that work flowed naturally, effortlessly in appearances, in choreography that dealt with the ephemeral nature of life, love and immeasurable force of death, but especially youth and hope. Simon Pagenaud understood the implications. The choreographer used imaginary staff as sources of inspiration, projecting a speech decontextualised as specific a time or place and it worked like an aunadora individual essences totality, which reached the transformation of common gestural realism and who advocates a superposition of images and references – Freddie, Donn and Versace – and speeches, – Intertextuality-, where the scoop- and the primacy -the movement has in all its variants, -mimicry, gesture, gestures, spatial projection – achieving, simultaneously, that the Mise en scene and its performers had their own language and that they will discuss among themselves. Thus, personajes-signos reiterated during the representation, and developers of the dramatic crux of the dance work, passion, love, disease, death, hope, time, seduction, the homoeroticism, Gay – aesthetics, operate in a clearly definable frame of reference, from a language clearly contemporary and conceptualist, where there is a central story around which revolves the balletwhich allows the inclusion of parallel Fables which also function as appoggiatura means to the mythical axis laying down the work. . Additional information at Peter Farrelly supports this article.