The dismembered body of Hippolytus lies on the ground. Phaedra, dead, wanders around before a powerless Theseus: all has been said, the drama has been consummated, there is nothing more to be done.
The survivors, Aricia, the chorus and Theseus (and is the corpse of Hippolytus really a corpse?), must now farewell this story: tell it to each other, say it again and again, distort it. To slide from the tragedy, the news item, the anecdote, towards the myth. Aricia is looking for the word, the one that will start the theatrical machine up again: her actor colleagues, their characters, the technicians, the audience: let the theatre, the tension of the re-presentation begin.

Someone emerges from the chorus to become Theseus. Then, it's the turn of a Phaedra, a second Phaedra. They act, they take over, they embody, they play at playing this game of chess, then the stage becomes the scene of a role play - but not for fun -, a life-size Kriegspiel.
The palace buzzes with plots and successive reversals. Theseus's away, the mice will play. And when he returns …

It is to this construction-reconstruction that we have been invited by Eugène Durif, to a return to all the versions of this story. Durif looking at Racine who strikes down Pradon who is looking at Garnier who scans the gallery of classics. At this family reunion, in this city whose dynasty has been cut down by death, nothing will be as it was before, there are empty places at the table of Troezen...