The performance Telesquat is named after an alleged disease that was diagnosed by doctors in the fifties, and has its cause in excessive exposure to television.

Beltrao in his performance researches the influence of television in our cognition of viewing and thinking about the world. With the appearance of television, the notion of mediation grows essentially; the increasing presence of television and media terror determine our level of reality as a metaphor of a storehouse, a depot of distances that until now, did not impose themselves on the comprehension between man and world. Music, along with other effects, paradoxically helps the dance performance to become comprehensible and attractive, but also strangles energetic immediacy of movement, giving it its volume. The word flows in many shapes of assertion and makes the world underlined, emphasized and prepared for formulation. The amount of mediators between the body that dances and the audience grows gradually. In this game, constructed on different levels of comprehension, Beltrao slowly transforms the scene into infinite chaos. Idle soldiers, astronauts and penguins become monsters, aggressive warriors who attack extraterrestrials. Horny males flow into heaven, disappearing into computer monitors scattered in theatre space, and strangle furiously with the noise racing through the universe. Comments on what's going on are a part of the performance and move in the wide range from an ironic subtext, through the theoretic chatter to free associations. Simultaneously the games of confusion and clarification intertwine. The dancers slowly but safely separate from the floor, and from the audience as well.

This performance is much more than a finished choreography, it is an insatiable laboratory of experiments. It is forcing the connection between the audience and the dancers and at the same time confuses the audience with the layers he inserts between them. With layers, Beltrao means false subtitles, 3D use of screen, special sound FX and one dancer in the audience who explains what's happening onstage. And there's not too much to explain: the bodies of dancers demonstrate only the formalized vocabulary of techniques of sharp breakdance movements, that, through aggressive external suggestions, makes the productive enjoyment gush out and imposes the rules of symbolic discourse.

With Telesquat Beltrao builds a review of discursive irony in the form of a mediatic fairytale fantasy.