In residency from November 26 to December 9, 2012

“China has awoken, unquestionably. And fear seems to have crept into our lives, based on what I am hearing, the acerbic comments of certain people, muttered imprecations about these ‘invaders.’ Our fears fall on the foreigner, who becomes the obvious target as soon as we have grouped together and feel suddenly stronger. As a group we can more easily transform the foreigner into a dangerous threat, to the point of becoming victims of our own demons. In this piece, the Chinese are a mere pretext for evoking our recurring anxiety about a supposed invasion, (…) revealing the origin of this malaise, provoked by our fear and on the roots of all evil, illuminating our fierce resistance to having to actually look at ourselves.” Caterina Sagna
Mixing the strong points of theatre and dance, Bal en Chine is set in a multiethnic building where the residents spend their time spying on each other. 

— Caterina Sagna 
She began dancing with her mother, Agna Sagna, who was also a choreographer and pedagogue, before joining Carolyn Carlson at the Théâtre de la Fenice in Venice and participating in several creations by Jorma Uotinen. In 1987, she founded her own company, Nadir, and began a cycle of creation lasting ten years, creating works strongly connected to literature (Genet, Cocteau, Büchner, Kafka, Rilke, Paul Valéry). In 2009, Caterina Sagna and her sister Carlotta united their two companies, creating the compagnie Caterina & Carlotta Sagna.