*the inside of the shoe

              embody an image


“Definition of Horma: The Horma is a mold on which the footwear is constructed. The Horma should be understood as a volume, a three-dimensional body. Therefore can be modified and this modifications transmitted to the footwear, both along and in the width and height, or combinations of the three dimensions: inner capacity.”


Horma is a theatrical solo dance piece that criticize pre-conception of images.

In the solo, there is a woman that tells different stories about how her image is percieve by other people's eyes. She also reveals the story of her father that is a reflection of what she could be, revealing the truth of what is behind, breaking the illusion of beauty.


How does this pre-conceptions affect that woman or that image of her that we are dealing with?, how this image can fit inside this pre conception? or in other words; how can she go inside the shoes that we choose for her?

All This questions are part of this trip outside and inside of that woman. Starting from a very teatrical language, going trough a very physical dance and ending with an abstact image/fantasy that the audience is collaborating and creating a last image full of black balloons.


Concept, coreography and dance:  Olivia Court Mesa

Music:  Omer Sheizaf, Olga Guillot


Premiered at "Intima Dance Festival 2012", Tmoona Theater. Mai 2012, Tel Aviv/ Israel. 



Review written bei Olivia Vella Beztalel at Tel Aviv City magazine 


A Gem in this Year’s Intima Dance Festival at Tmuna by Olivia Court Mesa 


Before the piece starts a tiny blonde with a big smile asks the audience to each blow up a balloon and throw the balloon on stage when she says ‘Now’. Surprised, the audience at once gives its full attention to the little dancer on stage. 

Unsure how large to blow their balloon or whether or not o tie a knot on it the they look towards their host for guidance, but she

has moved on to a gripping narrative in which she plays four different characters. Long monologues can be an effort to follow, but not this one. Olivia jumps from one character to the next with boundless energy, yet full of grace. The lights, music and props are cleverly co-ordinated to animate the switches. The narrative about a desired woman’s memories of her father was both serious and comical at the same time. The audience is captivated, balloons in their laps, waiting for their moment to bombard the stage. 

Olivia’s monologue ends, she dons more skin in a slick outfit change, and yes, keeps those black pumps on. She begins to delve into movement and at once an energetic burst of floor work smooth as silk takes off. It is time! She prompts us to throw our balloons. Black balloons fill the stage as she flies and rolls through her new obstacle course. The frequent popping only heightens the intensity of this unleashed physicality. It carries some symbolism of release of emotions. The piece goes out with a comical image; a familiar seductive female silhouette, this time with added voluptuousness thanks to two balloons at chest level. 

Olivia knows how to plan a piece on a macro and micro level. The scenes were unexpected and appropriate in length never offering a boring moment. More importantly she showed off her intelligence and talent. She presented a deeper message, she made people laugh, she involved the audience, she gave everything in her performance and 

she danced like an angel.