The show was built on allegory and stage metaphors. There are four actors who will play the lyrics of a single, but multiple, character of many characters within themselves. They all differ in their style of interpretation, but also different in themselves throughout the show, taking the forms that the country which they personify takes. The scene will be covered with charcoal, a remnant of the burning past and a symbol of renewal, rebirth from the burnt land, the notion Phoenix. Actors play barefoot on the stage. The main part of the show is the choir, which resembles the Greek choir of antiquity and the choir of men and women of the south of Albania.

The characters are branching and filigree of this earth, they are “Mother Earth” and the latter is a character. The barefoot game of the actors brings to mind an Albanian tradition, which requires that in the apartment where the dead has occurred, you enter without shoes.

Performance style – Pamphlet, both classic and modern with very rare directorial artistic findings for the Albanian theater. These findings are reinforced by the presence of video footage, which appear on the screen from time to time as a bridge between the times and the characters. The whole spectacle comes in the form of a public denunciation, a cry, where it is not enough just the power of a soul to solemnly declare what it feels. Actors will follow situations experienced in the historic moments of their country’s society, but also of neighboring countries, thus pursuing time and space travel. On these grounds, even though the show carries elements of the avant-garde spectacle, is all-inclusive to the public. Music is played live and the choir sings live; these elements give the show strong notes of emotion and trembling. Scenography is very simple and symbolic. It is illuminated with brightness/colors.

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More: http://www.teatriaab.com/pitf/programi