The dramatic and scenic conceptions, along with the book’s narrative scenes, are handed over to three performers.

The first performer listens to music, smokes, records and indexes his material. A passionate, dynamic and very personal relationship with the Greek poet and novelist Georgios Vizyenos is recorded. The second performer is in front of a computer, but he rarely writes; in a dreamlike-state, he recites the letters he has written for Vizyenos, identifying with them and being transformed into a “human-letter”. The third performer is found in a larger, almost empty space; he suffers, he represents Vizyenos’ troubled life and fragmented writing.

Musical motifs – from Thrace or inspired by Wagner – comment on the poet and novelist’s (third performer’s) questioning by his Muse (second performer) and the researcher of his work (first performer).

By transferring the book’s triangular form on stage, the play rakes up a dramatic life and a critical era (late 19th century) through literary, psychiatric and linguistic evidence.

The play is based on the novel Greek Insomnia (2004).