When the demigods were gathered to create human beings their mind wandered for a moment and the modelling paste solidified. The god of gods was outraged. Terrified and without knowing what to do, a demigod suggested taking the rigid paste and breaking it into pieces. Thus the skeleton was created: a collection of splits, of divisions that make up the essence of the human being’s movement and location within space.
This is the way in which we cut time, break up perception and sculpt an imaginary world by means of awareness. We establish the division between past, present and future.

This work is based on the human cyclical relationship with time, one of the universal mysteries that every individual reflects on sooner or later. Starting from body, mind and emotions, PRELUDIS ‘An imaginary instrument’ makes a tour through time, expressing fluidly and deeply the way the body becomes the very instrument of the dancer, the imagined instrument upon which he builds his universe.
The setting symbolises a clock. The hours are indicated by twelve objects, and within this space the choreographer develops his movement.
The piece is structured around a selection of piano preludes by five composers: Bach, Chopin, Debussy, Mompou and Carles Santos. Gelabert collects the essence of these musical pieces to delineate five basic attributes of human being.

PRELUDIS is Gelabert’s gaze on himself after thirty years as both dancer and choreographer,an expression of that crucial stage at which mental maturity exists equally with physical ability. He has chosen to share this moment with two long-time collaborators, Frederic Amat and Carles Santos. The controlled quality of this new solo, with its perfectly codified movements, is a summation of experience, maturity and beliefs.