Monica Casadei's interest in the relationship between dance and space has led to special projects  that investigate the reaction of dancers' bodies to the suggestions and influences wielded by ‘asymmetrical' stages, which are unusual for dance, such as the ultramodern architecture of MAC in Niteroi and the churches of Dialogues avec l'ange.

On occasion of its stay in Brazil in 2005, the Company was invited by the Director of the Museu de Arte Contemporanea de Niteroi to celebrate its eighth foundation anniversary.  The Company performed La poetica dell'infinito, a work that had been specifically developed for the extraordinary setting of this museum designed by architect Oscar Niemeyer. The performance made constant reference to the formal and philosophical features of the building, of which the architectural lines are designed and built following spiral modules: its plastic and daring curves seem to emerge from the spectacular surrounding nature, as if they were an unusual arboreal formation coming out of rock, in Rio de Janeiro's enchanting bay. The museum's premises and works of art then turned into an exceptional setting for choreographic activities that were closely related to the formal and conceptual space context in a substantial and intimate communication and interaction of arts.

In the project entitled Dialogues avec l'Ange, the space with which dance establishes a relation is the spiritual place par excellence, a church. It is a series of single acts - which are always different and unrepeatable -  designed to be attuned to the place that hosts them from time to time by deeply affecting their shape and essence.
This is the reason for not opting for a mise-en-scène, a narration or a performance, but rather for experiencing a very intimate moment of meditation. These places where the community gathers in faith longing for what transcends and leads are not a simple setting.  Indeed, Monica Casadei experiences them in depth, she breaths in their spirituality, she interprets their intimacy by summoning her dancers to this rite, where they are called to grasp the energy springing from the union between dance and religion, to voice and convey it to the audience. There is no subject to put on, no story to tell, but rather the bringing of the selves into play to embody one's own inner life and hence, inevitably, one's own doubts and hopes through dance.
The shape of events is constantly evolving and it changes with the changing of places, by privileging sometimes dance as a pure body expression, sometimes the dialogue between dancers and their evocative gestures. Also the text Dialogues avec l'ange (Un documento raccolto da Gitta Mallasz, 1990 èditions Aubier) after which the events are named, is a mere pretext: conversations between four young Hungarians and their ‘Angels' or ‘Spiritual Masters' on the scenario of the Second World War suggest to dancers the evocation and recalling of their ‘angels', the search for spirituality inside and outside them. Thus, dance becomes a prayer to be experienced in communion with others, an encounter with one's own soul and a quest for faith as a supreme inner force. Also the choice of music is dictated by the same intimate and personal necessity to find sounds for the soul.
These events thus take on the form of a rite and a moment of meditation through the spirituality contained in the language of dance, which is always the expression of one's soul, of one's inner life and a materialisation of faith.
The project was performed for the first time in the province of Parma during the event Pievi in scena, which took place in the parish churches of San Genesio in San Secondo, Sant'Ambrogio in Bazzano and San Bernardo in Fontevivo (2006).