There is something very moving about witnessing the beginning of a creation. Seeing, in real time, the talent and creative mind of a choreographer at work.

I had the chance to step into the studio with Marcos Morau during the early rehearsals of his new piece Svatbata, created for the Ballet du Grand Théâtre de Genève.

This encounter felt particularly meaningful to me, having previously photographed two of his works “Nachtraume” at Ballett Zürich and “Orpheus and Eurydice” at Ballet Luzern. Returning to his universe at such an early stage offered a different kind of proximity: closer to the raw material, closer to the essence.

What has always struck me in his work is the precision of his vision. There is something deeply graphic, almost cinematic, in the way he composes space and bodies. Nothing feels decorative or unnecessary — every gesture carries weight, every image seems to emerge from a deeper structure.

His pieces are dense with meaning, yet never overloaded. They unfold like moving architectures, where the group becomes a force, and where the body is constantly shaped, framed, and transformed.

But what is equally striking, once inside the studio, is the atmosphere he creates. There is a quiet sense of respect and attention that circulates between everyone present. His presence is both precise and open, demanding yet deeply human — creating a space where dancers seem fully engaged, and at ease.