Abstract: "NADIE" tells the story of a man named Nadie (Spanish for "nobody"). Nadie, also known as Antonio, faces the challenge of being unable to walk and having difficulties in expressing himself. His deepest desire is to experience the freedom of flight. Nadie often seeks refuge beneath a table, where he indulges in transcendent dreams. This unique narrative unfolds with the assistance of six other performers, referred to as the "poets," who bring Nadie's dreams to life through various sections encompassing monologues, dialogues, acting, and music. The overarching theme of the performance is Nadie's journey towards emancipation. It's important to note that all the performers in the play demonstrate various forms of mental or physical disabilities. The monologues of the "poets" are presented in verse form, and some pieces are inspired by the works of renowned authors like Pablo Neruda. Details: The play commences with a monologue delivered by the narrator, presumably Nadie himself. He paints a vivid picture of Nadie's predicament, emphasizing his inability to walk, run, communicate, or act independently. Nadie is symbolically placed beneath a table, with the plate removed to ensure his face remains visible. The table occupies the left half of the stage, while a mobile swing, constructed from chains and ropes, takes center stage. The poets, in their interactions with the scenery and Nadie, bring his dreams and thoughts to life. Poet 1 (Carlos) approaches Nadie, lamenting that he "can no longer." Poet 5 (Ruben) follows with a song, expressing hope for a better future. The narrator (Nadie) shares his yearning for a more fulfilling life poignantly and destructively. Concurrently, Ruben and Poetess 2 (Gema) enact a romantic scene, with Ruben wooing Gema and presenting her with a rose. Nadie observes their interactions closely. Subsequently, an emotional and impassioned monologue by Gema touches on themes of absence and not being present, culminating in her collapse beneath the swing. When Poet 4 (Mercedes, in a wheelchair) enters the stage, the other poets mock and ridicule her, with Gema joining in. Afterward, all except Mercedes exit the stage, leaving her to exclaim, "I am normal!" Nadie departs from beneath the table, traverses the empty stage, and ascends the swing. His voice conveys his unwavering desire to escape his status as "nobody" and gain a new perspective from above. As the performer beckons Nadie into the void, a white, faceless giant emerges on stage, guided by two other performers. They appear to balance together and gradually transition into a dance accompanied by slow-string music. Nadie retreats beneath the table to observe the unfolding scene. Performer 3 (José) places an empty picture frame in front of the swing, engaging in a monologue while collecting leaves and talking to himself. Carlos enters and shakes the swing, seemingly attempting to topple José. A chase ensues, concluding with Carlos chasing José away and donning a melon dropped by José from the swing. Carlos then hangs the frame on the swing and reflects on his mental handicap in a monologue before repositioning the frame to the right edge of the stage. Mercedes rolls onto the stage, revealing her face within the frame, and delivers a monologue, likely referencing herself as a turtle. She moves to the center of the stage and, with the help of chains, manages to stand up. Other performers enter, clapping slowly and securing Mercedes to the swing. She hovers slightly above the ground as the swing is turned, repeatedly crying, "I can't walk," while shedding tears. Eventually, Nadie lowers her and offers comfort. Nadie returns beneath his table as the poets sneak around, making threatening gestures in his direction. Carlos intervenes to stop them and distributes dark blue veils, which he retrieves from Mercedes' wheelchair. The poets begin to chant "Mine" and descend into loud moans and sobs, accompanied by dramatic music. Nadie starts to crawl out from under the table, approaching the poets, but they frighten him away and mock him upon his return. Gema intervenes to halt their mockery. She delivers a shouted monologue expressing the paradox between the world's meaninglessness and the simultaneous desire for oblivion, as well as the fundamental joys of life. Following this, all the poets encircle the swing, with Carlos harnessed to it. He speaks of the limitations of the world and the universal human capacity for dreaming and wishing. Despite being restrained by the swing, he attempts to crawl forward but fails. Nadie comes forward to free him, and together they ascend the swing. The other poets pull on the ropes attached to the frame that previously held Carlos captive. Nadie whispers details of his dreams into Carlos' ear, which Carlos shares with the audience. When Carlos exclaims, "You (the audience) are denying me these dreams," Nadie attempts to influence him, but the mood shifts, and the poets usher Nadie back under the table. The poets then tie themselves up and gesture threateningly toward Nadie, whispering, "Stop! Stop! (...)." They gather around the table, falling into repetitive exclamations. During this process, their hostility towards Nadie transforms into self-affirming mantras. The poets once again encircle the swing, extending their hands towards Nadie, who still stands under his table but reciprocates the gesture. Carlos delivers a monologue touching on themes of rejection and love, concluding with the words "Life is precious - that's why it must go on." In response, loud sirens blare. Nadie emerges from the table, confronting renewed hostility from the poets and roaring as he shoos them into the table. This marks the conclusion of the play.