Built out of pauses/poses which at moments stop the choreographical and temporal continuum, the performance Il bastone del diavolo in one of its layers is rhythmically and dramaturgically defined by establishing tableux-vivants (live images), whose function is mirrored in the materialization of the body as a surface for projection/a screen of different identificational and narrative procedures: from the work of the proleteriat, the androgynus Ziggy or a lover’s discourse to fallen shipyards and postcolonial, gender variations of subjectivity. By making the pose a ‘pregnant moment’, which emphasizes the act of transformation of body into image, Silvia and Mila explicitly thematize the dynamics of the converegence between visual and performative arts, testifying to the fact of the intermediality of contemporary choreography, its dialogue with other artistic disciplines, discourses and genres.