For the Biennale, Michaelson will be bringing her latest project, Shadowmann, comprising two distinct parts: In the first part, the layout of the theatre is overturned, inverting the traditional arrangement of spectators and dancers. The stalls end on stage and the large entrance doors constitute the backdrop. At the start of the show, the lights go up rather than down, the entrance doors open rather than close, and for the entire piece, two dancers, lit up by a spotlight and dressed in yellow tunics walk in the street as far as the opposite building and then return, dancing, with small sideways movements in the space of the performance. In the second part, Michelson transforms the little room of the performance into a white-decorated boudoir, with a densely embossed chintz curtain covering an entire wall from floor to ceiling. The intimacy created for this second act, in which the dancers do not even maintain their traditional distance from the spectators, is a perfect counterpoint to the long depth of field of the first. Both points of view create a fascinating cinema-like effect, as though each stage setting were a film location and the eyes of the spectator a camera following the protagonists across linked but separate scenes.