Na solidão dos campos de algodão happens in the space of the deal, of the illegal transaction, when four men meet. In duet, canon, echo or chorus, the four alternate and overlap in the roles of dealer, client and themselves. Nothing more is known about them, not even their names.
Seized by fear and audacity, they engage in an ostentatious succession of dense soliloquies - when one takes the floor, the others interfere, obsessively searching for the grotesque that underlies their speech.

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On the stage, the four are like cornered animals in a territory where some watch and others are watched, some dominate and others are dominated. Without ever naming their desire, one desires and the other desires. They face each other body to body, experimenting with discursive and aesthetic mechanisms that make it possible to erupt thoughts hitherto locked away in the memory of their bodies, which are often portrayed as marginalized, angry and dirty foreigners. This show is also, can also be, an autopsy of what happens inside these brutalized bodies that are trying to escape the loneliness of the dehumanization process to which they are subjected.

And when the shared pain and shame finally forces them to see themselves in others, they fight violently in an arena of dialogue and death. It's a physical battle, but also an internal and dialectical one, where words overcome and are overcome.