The starting point for the dance performance (ah ah ah) is the essay “Über das Marionettentheater”, written in 1801 by the German poet Heinrich von Kleist, which becomes the subject of Juliette Uzor's Étude. In Kleist's essay, the dancer C. and a walker discuss the peculiarities of puppetry and the relationship between the marionette and the machinist, who must master a skillful finger play in order to make the marionettes dance. Fascinated by the artificiality of the text and its mind games, Juliette Uzor raises (ah ah ah) questions about gravity, the (re)presentation and orientation of today's bodies and plays with the attractiveness of artificial intelligence. In which directions do the strings run, which fingers hold on to them, who is dancing? In (ah ah ah), Juliette Uzor explores the complex relationship between movement and language. Together with her co-performers Alina Arshi and Marie Jeger, (ah ah ah) goes to places where sound, rhythm, imagery and the meaning of words follow their own logic. With glitches and syncopations, this narrative is united in the unpredictability of body language. In the specially created stage set, a green beaded curtain itself becomes the pleasurable nature of the spectacle. An Eden brand water dispenser is on hand to quench the thirst. The antithesis of dance, according to Mr. C., is resting, a moment that should be made to disappear as far as possible.