PUNTO DI FUGA is the first stage and prologue of a broader project dedicated to THYESTES, the tragedy by Seneca. What is considered the most brutal and merciless of the Latin author’s works becomes the pretext for addressing, through dance, the themes of abuse of power, desire driven to excess, and the absolute moral license that often emerges in relationships between individuals when faced with the alluring banquet of ownership.

Here, the narrative opens onto an empty, silent space—under construction, modular, geometric—resembling a kind of Monopoly board with buildings and streets yet to be built and conquered, a chessboard gradually revealed, with roles and powers still to be assigned. Four “shady” characters enter the scene, each positioned at one of the four vertices of this virgin space. Each of them, in their own way, seems intent on claiming ownership, contesting it inch by inch.

They take measurements, analyze tactics and possibilities, test one another’s strength, and study personal strategies of domination in order to obtain, seize, and exercise Power. Each subsequent encounter between these potential kings becomes a futile attempt at coexistence, doomed to collapse in the face of the effortless, sacrifice-free simplicity of domination.

The exercise of power at the expense of the other reveals their inability to share and to engage in dialogue, their incapacity to question their own point of view in order to encounter difference, their difficulty in breaking and dividing ownership so as to give part of it away and receive something in return—something that might unsettle them, weaken them, change them.

The vanishing point evoked by the title— in perspective, the point toward which parallel lines appear to converge—expresses precisely this paradox, this “fiction”: the illusion that it might one day be possible to touch, to draw closer to one another, thus fostering encounter and the difficult dialogue of differences. This question stands at the heart of the creative project, realized on the occasion of the Italy–Russia Year of Cultural Dialogue, within which PUNTO DI FUGA was conceived.