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The show was unsuccessful without its star, however, so the producers brought Duffy back.

Since 2001, she has been producing and presenting her own work, which investigates the genre of performing arts, techniques of choreography and forms of behaviour.

Bachzetsis’s choreography examines the mutual influence of gesture and movement in ‘low’ or ‘commercial’ genres – such as romantic comedies, TV soap operas, or hiphop videos – and in ‘arts’ such as ballet, modern dance and performance.

These lyrics, which are often explicitly sexual, are handwritten on a4 sheets that get crumpled up and thrown away as the dance goes on. (The Mad Masters, 1955) I’m intrigued by works that contain some kind of magic or riddle that cannot always be deciphered – a strange familiarity that renders the familiar strange.

Roni Horn’s paired self-portraits ( (The Young Girls of Rochefort, 1967) or Michel Gondry’s video for the Chemical Brothers’ ‘Let Forever Be’ (1999).

This particular enigma of effects involves the canniest observation of contemporary personality types – their shared gestures, clothing and dramas. Village girls dance at a wedding festival in the Mazanderan province of nothern Iran, c.1952 Because of my paternal Greek heritage, I have witnessed many rituals related to dance and I have regularly observed the lively exchange of gestures, which I always find very inspiring.

I love the celebratory dances and rituals shared among families or small communities for their authenticity and their playfulness.

Alexandra Bachzetsis is an artist, performer and choreographer based in Zurich and Basel, Switzerland.

She began her career as a dancer, collaborating with Sasha Waltz & Guests and Les Ballets C de la B, among others.

My work (2008) is a soap opera and a study of a soap opera – a story and a meta-story.

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