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In the near future people have replaced religious temples for apps and cemetery niches for the walls of social networks. 


Deathbook is a system that reconstructs the personality of the deceased from data stored in "the cloud" during their lifetime. The service offers relatives virtual sessions with an actor who, connected to the profile, can represent the dead person in an incredibly faithful way.


Why does the system, being able to reconstruct everything, need the actor? Can human contradiction balance the system's shortcomings? Can a memory become a living experience?

Maxi Vecco (about Deathbook)

Deathbook is a short work of science fiction that I started writing a year before the pandemic and that, like most of my personal projects, was unfinished. It was during the first months of lockdown, when I still believed that the lockdown was supposed to generate profound changes in the way I produced, that I felt compelled to sit down in front of the word processor to bring it to an end. I never thought that quarantine would re-signified the text in the way it did. Nor did I imagine, as did any of the members of the company, that the streaming staging of the play could be such an enriching and close to the theatre artistic and human experience.

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