Sitting at a dimly-lit desk on the edge of a circular crater-shaped device, someone is waiting for us. She seems to have suffered from the effects of the darkness to which she has been confined for so long.

This place is hers, her theatre as round as Shakespeare's Globe or a museum's circus. It is not on our scale, but that of the characters who, guided by the narration of J. Kott's text, will come to revisit the scene of the crime, in other words the stage of this small wooden theatre, formed by the bottom of the crater.

To tirelessly retrace, for those who want to listen, the path from fury to silence, from crime to madness.

Maybe it's all a game? From underneath, from one trapdoor or another, these characters appear and emerge, in turn intriguing, astonishing or observant. Here, discovering a skull in a sack full of earth; there, trying to place a crown on the head of a faceless creature: we don't play the scenes, we can tell them. Something else is going on, a reflection of the "long chain of crimes" referred to by J. Kott.

Odile Sankara, our lead actress, acts on the story's machinery in both the figurative and literal sense. With her hands on the controls of her old wooden theatre's rigging, she goes fishing for spectres and small characters, waking them up from the deep night into which they had sunk.