Turin, Piazza Carlo Alberto: some ships are drifting. They represent the shipwrecks of people on the edge of life, of drug addicts who live through their everyday tragic experiences of despair and self-destruction in a climate of general indifference. All those “others” who were brought up to see and not to hear, are absent-minded, passive spectators at a death “live”. The impact is violent. A fiction that is stronger than what is real puts people’s indifference, their protective shield, into a crisis. The drama concentrates on a moment that heightens the meaning of the message while denying the rhetoric in the issue. There is a 40-piece orchestra in the grandstands dressed strictly in black tie and frozen in the act of playing their violins. This is well-minded, bourgeois, elegant Turin that is far away from its children. They play and do not notice. Or, they notice and they play. There is a shipwreck. Nine fishing boats are drifting without oars full of a humanity that has been forgotten. There are figures wrapped in fused plastic. They are trapped and enveloped as in an immense spider’s web. There is an audience in the audience – thirty figures of faces covered by cloths (inspired by Magritte’s paintings). They are motionless. They see and don’t see, just like the city that passes by indifferent to tragedy.