“Narcissus is one of the most significant and best-known myths of history and can therefore be situated outside of time, suspended, fixed in an eternal space, perfectly neutral and at the same time highly contaminable. In addition, more than any other myth, it describes our society, our way of living; just think of the use (and abuse) of the words “narcissus”, “narcissism”, “narcissist”. The drama immortalised by the classical myth returns in the key of a dark fairy tale in front of the distorting mirror, suspended between ancestral symbols and modern intrusions, cynical and melodramatic, mischievous and dreamy like children can often be. A performance in continuous metamorphosis, both stylistic and figurative, a work that finds in the desecration itself the means to describe our relationship with the ancient, mythical world, with which we are losing all ties, and in which death itself is no longer the dramatic and decisive event of the classical tragedy, but only a consequence of the difficulty of adjusting to the sense of modernity that is our new God. For the spectator, the performance will become a sort of reflection, pitiless and ironic, of our “liquid” society, (as Zygmunt Bauman defined it), in which people are constantly running in search of new forms, urged on by the horror of the expiration, towards a happiness that is as impossible as it is obsessively desired. Narcissus, in the end, is no more than our way of confronting the unknown and uncertain world that surrounds us, the reflection of a Europe that has learnt to withdraw into itself, denying the past and falsely searching outside for its own future, increasingly indefinite.” PREVIEW Teatro Carani, Sassuolo (MO) - marzo 2012