The two protagonists are the director of the First Theatre of an unnamed country and a young, coming from a non-privileged background, award-winning playwright. The two will come into conflict over the content of the play that will be staged, as a consequence of its award, thus exemplifying a fairly ingrained in the public mind correlation of power dynamics regarding state authority and opposition to it, with the outcome referring to a bleak conception of the world, which seems expected precisely because the opposition tries to be expressed within an institutional framework [...]

Thanasīs Triarídis has not been discouraged so far because he is not interested in acting within an institutional framework; however, the work, with a silent but impressive turn, starting from him, ultimately addresses and warns his - younger or not - colleagues: any attempt at critique within an institutional framework is inherently doomed. This warning, however, beyond the writers, has as its final recipient the audience. For Triarídis, awakening is necessary; stopping the silent consent is necessary: respect or submission or, at least, resignation to a "rotten" institution contradicts every humanitarian value as we have been taught so far;

ROZALI SINOPOLU