“Manifesto Cannibale” is a strange organism. It stems from a reflection on the plant world that calls us to re-read the location of the human, the texture of time, and the forms of perception and thought. The creation was abandoned by the author (Francesca Pennini), who kept herself in a state of blindness by entrusting its staging to a communication system filtered only through poetic clues. Franz Schubert’s Winterreise Lieder cycle, performed live on piano and magnetic tape, accompanies a perceptual transformative ritual towards conditions inaccessible to human bodies, between microscopic dances, dangerous games and choreographic hieroglyphics. The hierarchies between dark and light, sound and silence, black and white, naked and clothed, awake and asleep, motionless and kinetic, are dismantled on stage. It is an invitation to a tactile gaze, to an immersion in loud silences. The key roles of theatre are transformed by continuously incorporating other substances in a cannibalism that makes the proscenium the threshold for mixing bodies. A panorama into which the gaze of a disarmed author bursts, vertical and unpredictable, in front of a motionless scene, like a crack of reality outside all representation.