The characteristics of the non-theatrical space leads to not being able to follow Alban Berg’s very precise indications regarding the separation obtained with the use of the curtain for the scene changes during the Interludes. The result is a Wozzeck realized as a large installation in which the elements that define the single places of action are co-existing.

The layout of the stage inserts itself in the architecture of the hall by utilizing two specific places: the platform, normally used by the Choir, brought to the same level, and the gallery seats behind the Orchestra. These two different spaces are connected in three points with stairs that mark the access to three specific spaces, Marie’s room, at the center, and on each side the Doctor’s cabinet and the minimal and inconstant room of the Captain.

The character of Wozzeck as a cavy, then lives his story thrashing within this gigantic box of constriction.