In this concert for Lev Theremin, respiration is the grammar of a choreographic/musical language that blends several elements: rhythm, immateriality of signs, vibratility of materials, transmission from a distance, body/sound relationship. At the same time, the pneumatic activity is the object of manipulation and falsification, a field of conflict between liberty and constriction, discriminating between play and prevarication: it makes the execution into a Pavlovian experi- ment in which it is not clear who is the dog and who the scientist. The entire composition is dominated by rules, from the melodic exhibition based on a written score, in which the sounds produced by the dancer are captured and elaborated live by the musician, to the militarization of the body through the imposition of a rhythmic breathing schema, and the theme of passion and death, which are not depicted by captured as physical realities in an extreme state of near lack of oxygenation. Within this arc themes and paradigms fall of the contradictory and exemplary life of the Soviet genius: Theremin traverses continents and ideologies, physics laboratories and concert halls, starts out with electricity and winds up with magnetism, experiences prizes and processes, Alcatraz and Siberia. Always escaping, lying, betraying and contradicting himself, he ends up back where he started: after a fake death, simulated and publicized by the regime, he meets an ignominious end in total anonymity – the perfect martyr of a Twentieth Century without redemption. Thus the execution, in both senses of the word, is finally carried out.