Castrati reflects on the phenomena of the castrated singers during the 16th-18th century in Spain and Italy. Utterly fascinated by the fate of these men who were maimed in the name of art, Ochoa sets her cast in the atmosphere of a science lab where the public can observe the seven last living castrati. The performers are aware that they’re being watched and scrutinized, which gives them a feeling of uneasyness and anguish, but performing is their only purpose. During the creation process, the question that arose in the mind of the choreographer is: aren’t dancers also in some sort of way maiming themselves in the name of art in order to entertain the public?