Having explored the glorification of crime in de Sade, the post-industrial nightmares of Thomas Ligotti and the geographical and metaphysical deserts of Roberto Bolaño, Fabio Condemi continues his exploration of evil and the relationship between representation and artistic creation by staging The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson.

Born of a nightmare that Stevenson hastened to transcribe feverishly, the story of Jekyll and Hyde is made (and written) of the very stuff of nightmares, leaving the reader with a sense of unease mixed with exhilaration.
The obsession with experimentation and the ambiguous power of science, split personalities and the risks of repression make this novel, published in 1886, a reflection on human nature that remains compelling to this day.
The structure of the text is the fragmentary one typical of an investigation: like the solicitor Utterson – the true protagonist of the story – the reader too follows the trail of Mr Hyde, of the evil that lurks in plain sight in cities, in human relationships, in institutions, without ever quite managing to grasp it fully, in a disturbing game of hide and seek.