Carlota Pradera’s “Bare Bones,” a fantastic collaborative effort with special guest artist Lazaro Godoy, Cuban filmmaker Juan Carlos Zaldivar, lighting designer Alexey Taran and sound artists/composers Juraj Kojs and Rainer Davies, was an exquisitely aggressive and well-cultivated production that stripped down elements of experimental dance, live music and video installation.

“Bare Bones” by Carlota Pradera. Photo by Neil de la Flor

Pradera took these raw elements, held them up to a harsh light and ruthlessly wove them back together to reveal the beautiful and brutal face of human behavior. “For me, ‘Bare Bones’ is about confronting oneself. Confronting the things that don’t work. Accepting things for what they are. Being realistic. Unleashing the animalistic layers,” Pradera said. “Hopefully, we find our child, lost child, our references from the past. Working with memories. Bringing back places where I’ve lived.”

“Bare Bones” by Carlota Pradera. Photo by Neil de la Flor

Closing night begins like all other nights: with the audience standing in front of the entrance to the SandBox Theater at the Miami Theater Center. An usher pulls back a black curtain, and Pradera appears in the window writhing like a trapped animal. After a few minutes, the usher opens the front door and we take our seats. Pradera continues to writhe in the window in and out of a giant metallic cape-like snare, as her cohort, Godoy, cowers over a small horde of driftwood positioned in the furthest corner of the Sandbox.

“Bare Bones” by Carlota Pradera. Photo by Neil de la Flor

As the performance progresses, the dancers’ movements become increasingly violent, as if they’re trying to rid their bodies of their flesh. Important note: they barely touch each other for the first half of the performance. These two endangered animals finally connect with brutish, sexually charged movements. Uncomfortable, but necessary. No longer Pradera and Godoy, these two bodies come to an awkward reconciliation of sorts, but there’s never a true easing of hostilities between them—just a recognition of their primal selves unleashed, and that’s that.

“Bare Bones” by Carlota Pradera. Photo by Neil de la Flor

When I spoke to Pradera before “Bare Bones” opened, she alluded to the grueling, laborious nature of the rehearsals that were breaking her down. Godoy is forcing me to explore uncomfortable spaces, she said. Good, I thought, because that will force the audience into uncomfortable spaces. Thankfully, Pradera didn’t back off.

“Bare Bones” by Carlota Pradera. Photo by Neil de la Flor

“Bare Bones” was the culmination of a month-long residency at the Miami Theater Center as part of its 2013-2014 SandBox Series. For more information about the series, visit www.mtcmiami.org/sandbox-series.