Since ever, every culture knew to invent its own trance rituals, in order to free the captive souls of a community. No matter the fictional system of the ritual, in any case it is a matter of crossing: a state of rapture, or the possibility of getting out of oneself, during a limited time.

For her second play, Maud Blandel chooses to investigate one of these rituals: tarantism. Popular healing rite in the South of Italy, mixing christianity, magic practices, and musical catharsis, it not only attests to the warding off forms established by a society,  but it gives as well an account of a whole section of the evolution of cultural balances of power. At first from telluric origin, and then religious one, tarantism is today exploited by a ferocious tourist-festive industry.

Formal play for four female dancers, « Lignes de conduite » chooses to recount the evolution of the phenomenon of possession, with the purpose of questioning poetically what may have produced the spectacularization (turning-into-a-show) of such practices.