The origin of this work of self-fiction is one of São Trindade's sketchbooks, entirely focused on abandon, loss and decay as a corporeal state. Using references to the crime scenes and nightlife aesthetics photographed by Weegee, the artist's body is prepared — as one says of a prepared piano — with props, dresses and gestures that hint at recent activities and at different personalities, turning each frame into a particular story. The surrounding space serves as a sounding board for each of these performative states of the body.