For his new production for large stages, Romeo Castellucci took inspiration from a short story by the American author Nathaniel Hawthorne called 'The Minister's Black Veil'. It was published in 1837 as part of his 'Twice-Told Tales' and the author described it as a parable. A minister in the puritan congregation of Milford in New England one day decides to conceal his face behind a black veil, from his forehead to his mouth. Until the end of his days he leads a respectable but lonely life. Since he never gave any explanation for this choice, the gesture remains mysterious and ambiguous. No one knows whether the veil was a symbol of penance, of modesty or, on the contrary, of pride. This story set Castellucci thinking about the nature of performance and of representation. Does one only see what is shown? In his case too, the (theatrical) power of the image probably lies in the ambiguity of the symbol. Beyond language and what is visible there is nothing more to be said: only a black backdrop.