A Mulherzinha

"There is a goal, but no path; what we call a path is hesitation."
— Franz Kafka

There are those whom we love, whom we respect, there are those who are indifferent, indistinct, undifferentiated to us, and there are also those whom we hate, whom we fear, whom we despise. Can one person be all those other people that make up the fertile landscape of human relationships? Can a single individuality hold within itself such a diverse catalog of vices and virtues that, by its mere enumeration and enunciation, we doubt we are talking about a single person? The inexhaustible drama of identity, of the multiplicity of the ego, of being who we are in the face of what people think we are, is the disturbing subject in the thesis of "The Little Woman". Based on Franz Kafka's short story of the same name, written in 1923 as a scathing homage to his landlady in Berlin-Steglitz, this is a scenic exercise about personality, its perception and acceptance, about the shattering of the "I" into multiple fragments that feed a permanent and irresolvable conflict among themselves. We are all, each in our own way, a cosmos in eternal ebullition. And none more so than our protagonist who, faced with an empty frame, wars for the affirmation of her place in the world.