In Hamletmachine, Heiner Müller finds the site for the revolutionary construction of a new theater. His texts are formed of fragments, shattered scenes, and derisory monologues,  stimuli for the creative invention of a performed reality, the only reality capable of transgressively translating the complexity of contemporary existence. In one of the final scenes in Ói Nóis' adaptation, the dead figure of Stalin appears in the TV monitors, while three naked actresses parade wearing giant heads of Marx, Lenin and Mao. The characters and scenes are pulverized and multifaceted, allowing for distinct and contradictory readings, which provide for countless concrete political interpretations and symbolic references.