We follow the story of Kaspar Hauser from the fatal end. We see the world after disaster, the world in ashes. For the long time of the performances the scenography is keeping its secret showing its final shape in the final phase. At the beginning of the performance there is only a black abyss of gigantic fabric which comes alive at significant moments, for instance it moves in the rhythm of Kaspar’s breathing, it reacts with a sudden spasmatic movement to acts of oppression directed against Kaspar. Finally the set reveals its final form and becomes a palace space. The scenography is in fact a gigantic tent with realistic printed wall – a close replica of one of the palace rooms from Venice (Palazzo Grimani). The choice of this particular room is very significant for the reason that the 15th-century hall with a plethora of antique sculptures and decorations represents the art of humanism in a nutshell. My intention was to ask a question about what humanism is exactly? We surround ourselves with the art of humanism, remaining indifferent to the individual fate of man.
Another part of the set is massive treadmill where Kaspar is trapped. This unlikely trap and monument at the same time aims to entertain the society and to prison human toy, an idol. Human or animal stay in constant motion, gives the impression of inaccessibility and object laboratory, experiment. Cruel, consecrated and fun.