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Euripides Laskaridis's non-verbal solo performance explores the unpredictability of visceral responses to crisis situations, the ambivalence of provocation and reaction, the lingering sense of loneliness and slow burnout.

The scenery is deconstructed, the design aspects are separated from each other - sound wall, potted plants, statue head, ball, curtain, carpet in the middle. The flickering light of the LED lights illuminates for a few moments the apparently untroubled, deformed figure sitting on the upholstery, while his legs are massaged by machines: faceless, his body repulsive, his limbs fat and swollen. But the idyll is broken: he can feel he is being watched. Communication between spectator and spectated begins. With animalistic steps like a horse, he gets off the carpet, which meant comfort. The pressure of attention stimulates him, he reacts, he acts redundantly: he runs into a wall, covers itself with a fan, puts on a mask. From behind his wig and dress, he tries to address his watchers. His voice is unusual, no authentic communication is established. He starts a ridiculous show, already teasing his public: playing with his ball and running around the space. He's enjoying the stares, he wants to be seen. After his absurd attempts, he tries to return to normality, but he can no longer find his place in the old intimate space. He puts on a new wig, a new mask: his aim is to make himself even more visible. He embarks on a desperate, extravagant show, but the expected effect is not forthcoming: he is outraged, hysterical and shouting. He prostitutes himself in a desperate need for the desired impulse: he wraps his private life, his carpet, his stunt, his ball around himself and engages in a sexual act.

The degraded androgynous figure, a kind of whoever. The fate of the grotesque becomes a parable: the disrespect of our boundaries, the violation of our values, the loss of the self, triggers the moral degradation that leads to the decadence of the human race.