The play is underpinned by an inescapable question: how do we, understood as individual human entities, deal with the crisis before us? Faced with the end of an era, the human being is faced with the responsibility of a choice: on the one hand, there is denial of the current state of affairs, in order to procrastinate or forget the crisis as quickly as possible; on the other hand, there is welcoming the crisis, in order to open the imagination to new hypotheses of survival and relationships.

In Se domani the crisis becomes body, sound and space. Two bodies submerged by the voice of a distant multitude, advance on two trajectories in dialogue with the gaze of the spectator and the Other on stage. How to be or not to be seen, in discovering one’s own fragility? The two performers, representatives of a collectivity enclosed in a monad of schemes and protections, meet the Other, to the point of touching. Two perturbing movements in an attempt to reconfigure themselves, even at one step from the end.