This play is based on a novel by Christa Wolf, in which she recounts the story of the fall of Troy from the female perspective of Kassandra. It is a play about war, but also about civil liberties, about the right to clarity against systems of power organized in hierarchical structures, and about the cruelties suffered by the excluded and the process of exclusion itself with its invisible laws. Why does one start a war? By presenting the audience with death machines, Kassandra incites them to question the values of war and heroism that traverse our culture. What became of these values once we were faced with the horrors of the 20th century? What became of our artistic traditions and their capacity to examine our civilization? In the current context, is the avant-garde — an artistic concept that unmindfully borrows a metaphor from war — anything other than an irresponsible leap forward? Using elements and iconographic material from World War Two, Nazi Germany, and the atomic bombing of 1945, the performance recovers the meaning of an art that doesn't shy away from crucial and painful issues of our time, but rather faces and confronts them in order to better understand them. Conceived as a heterogeneous syncretism of temporalities, Kassandra grounds itself on the ancient tragic archive of the victimized Trojan women, compressing nearly three thousand years of culture into simultaneous and similar gestures: violation, plunder, and the male warmongering imperialism, represented by a phallocracy that pervades Western male behavior and discourse.