Before becoming a dancer and choreographer, Boris Charmatz used to be a ping pong player. Starting with the body, Boris invents 10.000 gestures, adopting each movement as a projectile given and thrown, enacted and transformed. Enter a choreographic forest like an ode to the impermanence of the art of dance. We heard Boris spread an anonymous open call in the metro of Paris for a nomadic and ephemeral school project Bocal. Turning upside down the language of dance as an alive archive, Boris finds new ways to produce and think dance. He subjugates dance to formal constraints that define new fields of possibilities. The stage enables drafts where concepts and organic forces are thrown, in order to study the chemical reactions, the intensities and the tensions that abound from such encounter.