A mom accompanies a little boy (about 7 years old) to a ballet performance.

Images of a ballerina appear on a screen made of tulle.

It′s Anna Pavlova in the famous"Death of the Swan" many and many years ago. The photos are replaced by a fading figure of a dancer performing the famous piece, an evocation.

The boy is not a child prodigy, but he has sufficient sensitivity to be tender and impressed by the vision. He wonders, or rather asks his mother who she is, what that unreal apparition represents and makes us understand that he cannot believe that she is a woman. Mother replies, "It′s not a ghost. It′s a woman, an artist who has the power to transform herself."

The boy feels the sadness of the death of the ultimate symbol of beauty.

It is indeed the "swan song" for a being who makes a pact with Mother and decides to dedicate his life to dance and embrace a career.

He will be a dancer!

With the study, with the rehearsals the new dancer will undergo, he embarks on the hard path.

from this moment will parade the performances of a lifetime from the classics-romantic to the newest and most adventurous achievements.

Mother, from good Fairy, will accompany him through this hard and tiring process without ever abandoning him.

The boy realizes that everything is, as a great musician had to to say, about remaking old ships, elaborating what has already been done. Classical ballet also has the power to create ancient myths: the angelic, ethereal, inaccessible woman above the human; the demon, the hero, the adventurer who goes to her conquest. On the stage passes, spends and flies a large part of choreographic and choreographic knowledge.

Only much later does our little hero, having become an adult, gone through the tangles and exaltations of dance, exhilaration and disappointments, hope and illusions realize a new way and world of doing theater.

The times proceed, flying like "jetes" of dancers hurtling through space.

We need to measure ourselves against the diversity of genres to realize that "dance is one."

Back comes the idea of the beginning, of the enchanted discovery of himself, and like a little Pan, the unforgettable sprite discovers his own nature, shakes a pile of debris, earth, clods, "music of dead leaves," and sees above him the sky.

He is so certainly alive, born to movement, to life, confronting himself, identifying with everything around him, measuring and convincing himself that he is made of that dancing matter, finally exulting and dissolving his hymn of joy and thanksgiving to Nature.

The boy, having come to the fullness of his means, (plenitude) is once again led by the hand by his mother against the backdrop of the swirling scene of couples dancing the waltz from the film, "The Leopard," emblematic of a long journey and great work in which the becoming of a society is discerned. For just two hundred years ago (in 1815) the Congress of Vienna, recalled in euphoric abandon of those ¾, after meetings and discussions, attempted to reunite the various states of united Europe and it was said that the Congress, in distinction and also in entertainment (the Congress dances) would find its reflection, its peace, its dance.

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