Thus, seemingly without reason, the five performers of Stuporosa cry, giving life to a weeping that takes on different shades—at times restrained, at times stifled, at times becoming music, then flowing into hope, then turning into song, echoing the sounds of an ancient Salentine funeral lament.

Their bodies fragment in search of archaic, distant forms that dissolve and vanish in an instant. These forms are figures of pathos, archetypal images of human suffering that have been passed down through centuries and civilizations—images belonging to past funeral rites but carrying a universal value, because since the beginning of time, human beings have suffered in the same way.

The five performers attempt to recover a sense of collectivity, of rituality, to establish new forms of mutual support, whispering ancient magical formulas, evoking traditional dances, singing a Salentine lullaby.

In Stuporosa, as in ritual lamentation, one witnesses a stylization of pathos, a kind of de-hystericization of it; and the performance itself aims to be an invitation to reflect on the state of mourning, on the human need for a shared cultural institution, a communal rite, to overcome moments of individual crisis.