The play springs out of the urgency of telling this millennium (which is such only for the countries of the Gregorian calendar), not through the eyes of a character, or a story, but by describing and reinventing what vibrates around us: the Chaotic , exaggerated, deafening glittering of information, sounds, sensations, encounters, landscapes.
So here is a succession of Entrances (of an actor, an object, sound) in a half-empty, bare space, with just a few chairs and a bench, perhaps an armchair, and a single scenic element consisting of a mysterious cylinder wrapped in a sheet of gauze … a totem statue in the shadow of which everyone will show his own world. The only character who is always on stage is the Surveyor, a symbol of the bureaucratic efficiency of our time which would monitor everything and everyone through rules, records, measurements, floor plans, maps, urban land registers and amnesties, the emblem of a country whose highest ideal is to win the world soccer championship, a once beautiful environment that longs to be replaced by a single casting of concrete, people whose dream is to appear for one night in any TV program, even at the cost of making fools of themselves, to be insulted and vilified … the importance is to appear. Besides the Surveyor, almost from the very beginning a Transsexual impassively watches the chaos. He will speak only towards the end, when pairs of every kind will have appeared on the stage: racist and anti-racists, people of different color and religions, military of any ranks, actors and presenters, gypsies and posh ladies, cops and killers, all forming a fascinating and yet repulsive bestiary.
It can be performed by a Company of 11 actors for the 23 characters.
