Whoever has seen Carlotta Ikeda dancing knows to what point she masters that art of metamorphosis, how she can make it at the same time obvious and invisible, how she can extend the time of the vision in a « slowness of movement allowing all possible interpretations » (Paul Claudel). The trembling of nothingness? « The ideal transformation would be to become what does not exist, and to become nothing one should become everything », says Ko Murobushi, choreographic alter ego of Carlotta Ikeda.

The metamorphosis at stake here is not that of an histrion, one who knows how to make a caricature out of expressive imitations. In Carlotta Ikeda, this is a change of inner state, involving the whole body. Unlike the occidental dance, where the techniques are mostly based on dissociation of the different body-parts, Butô involves the body in its organic, articular, sensitive wholeness. In an interview, Carlotta Ikeda tells about Hijikata teaching how to « abandon none of the bodyparts, turn all that is taken for insignificant into unheard-of riches ».
-- from the biography of the great butoh dancer Carlotta Ikeda on her website