If you are familiar with the infinity symbol, then you probably know already what it represents – and if a dance duet brings it on stage as a pattern in space, well, you might expect a vortex of infinite movement. But infinity, explained here in dance terms, does not really count on diversity. On the contrary, to get things going you just need some basic composing elements: count a few steps and have two dancers crisscrossing each other ad infinitum.

In Gyre, by Angela Rabaglio and Micaël Florentz, the effect is mesmerising: once they start moving it feels like the main stage of Les Brigittines has turned into a dark hole. All matter is absorbed into nothingness and the beginning is very much like the end. But spot the endurance, discipline, sharpness and ghostly presence of the dancers, and you’re convinced that this ‘gyroscopic’ duet is all about nuances that go unnoticed: a type of gestural impressionism that blurs the boundaries before and after each movement. After all, perspective is about examining things closely: a hunching torso, a beating foot, a disappearing face that comes back not to haunt you, but to strike you with the simplicity of things.