Orgia reflects the uneasiness that permeates Pier Paolo Pasolini’s entire career. It is a contemporary tragedy about the diversity and obscure and violent impulses that motivate human beings. More than a play, Orgia can be defined as a poem recited by several voices, or a secular oratorio that expresses, somewhere between lyricism and statement, the crisis experienced by contemporary society, represented through an individual obsession. In the play, the mystery of fertility and identity problems meet an obsession with sex, which is both a source of guilt and a means of knowledge: here lies a couple’s delirium, a bloody orgy of words that finds its essence in the recognition of diversity. This is not, however, a pornographic or eroticised story. Orgia belongs to the realm of ideas: a theatre of words, combined by flesh, which Nuno M Cardoso presents us with, performed by Albano Jerónimo, Beatriz Batarda and Marina Leonardo.