Late in his life, Stravinsky confessed that the initial idea behind Le Sacre du Printemps was born of a vision of a pagan ritual in which a girl danced herself to death. In the spring of 1913, the Paris premier of the ballet was received with violent shouts and catcalls that degenerated into rioting, as the audience felt outraged by the dissonant and jarring pulsations of the music and Nijinsky's primitive, overtly sexual choreography. In Fornieles’ performance, the piece of music was played to the audience while the artist danced for 12 hours in a pool of blood, listening to contemporary music of a similarly sexual and violent theme through the earphones of her iPod.
The aggressive polytonality of Le Sacre, with its pagan and ritual accents, enveloped Fornieles' solitary dance, set in an installation that evoked domestic aesthetics. The performance, through its setting and soundscape, played itself out as a physical sacrifice. It dragged the audience into a reclaimed territory: the home becoming a stage, the dance defining the music and the sacrificial act becoming an act of self-empowerment.