With Ballet in Three Acts, Abraham Aronovitch examines the dynamics of the couple through the prism of the gaze. Inscribed within the Behind the Obvious series, the work transforms the intimate space of the bathroom into a theatrical stage structured by the mirror. The affective bond appears as a recurring mise en scène, where the presence of the other does not cancel the individual process of looking.

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The figures evolve within a shared movement, evoking a choreography whose gestures respond to one another without ever merging. The bodies seem governed by an invisible dispositif that exceeds them, generating a succession of positions within a fragmented temporality. The work thus reveals the persistence of the face-to-face with oneself even at the heart of the relationship: the other becomes a companion in reflection, yet the mirror remains the site of a solitary confrontation.