Abstract: The production "Cáscaras vacías" narrates the experiences of six individuals who tragically became targets of the Nazi-fascist Euthanasia program known as "T4," a harrowing chapter intertwined with the Holocaust: Hans (functional diversity unclear, likely schizophrenia), Paul (idiotic), Agnes (who is deaf-mute), Lotte (blind), Heida (Down syndrome) and Roland (epileptic). The enactment takes place in a single room that functions as an asylum room, deportation bus, prison cell, and gas chamber – however, the distinctions between those places seem to be fluid. Alternately the actors portray their stories (alone or with the support of others), dance, listen, or picture the historical context of the National-Socialist regime.

Details: The first scene is set in a dark room that functions as a prison cell. A female voice describes it – “seats on the sides, clothes, bags, and shoes in the corners…” A male voice exclaims aggressively: “We begin with the disinfection! Everybody remove their clothes, separate them from your shoes, and hurry up!” By and by, the door opens, and people enter separately. While two men sit down mumbling, a woman wanders around, panting. The second woman seems to know the third; they hug and sit down. As a third man enters, the male voice orders everybody to be seated and quiet. On a large screen, a video of a mime artist starts playing, and the third man begins gesticulating, sometimes spastically, as if he is trying to communicate (his gestures resemble sign language). The first woman is standing by his side as if she is trying to read him – whenever the movements turn spastically, she screams, “I’m scared.” One time the third man also shouts out loud, calling for his mother. He grabs six pairs of shoes, sharing them with the others. He signals them an invitation to dance, which they subsequently do. Joyful piano music starts to play, and the room is filled with colourful lights. As the music and dancing stop, the first man (now wearing a cylinder and a stick) welcomes the audience. He introduces the six cáscaras vacías, the six “empty shells” who reside in the cell of the asylum in Brandenburg: The second woman: blind Lotte, who identifies as pansexual; the third man: epileptic Roland, who identifies as homosexual; the second woman: “Mongolic” (she is with Down syndrome) Heide, who is marked as an angel and slut; the second man: idiotic but wholesome Paul; the first woman: deaf Agnes, who is marked as hysteric; and the first man, who characterizes himself as the “famous and talented doctor” Hans Griessmann.

After the initial introduction, Lotte delivers a monologue in which she ironically presents herself as a portrayal of the idealized handsome and blond German race. This image starkly contrasts with the traumatic events she has endured: the untimely demise of her mother, experiences of child abuse, growing up within the confines of a repressive monastery, and eventually being transferred to the asylum where she anticipates an ominous fate. Following Lotte's monologue, the spotlight shifts to Agnes, whose monologue is titled "Letters so they don’t take me away" and is expressed through sign language. At first, the stage is solely occupied by Agnes, but gradually, the other characters re-enter during her speech. Suddenly, their voices overlap and intersect, culminating in Hans' voice addressing a letter to his parents, beseeching them to rescue him from the asylum. He then announces public advice, presented by Lotte, who introduces a social-Darwinist textbook on diagnosing functional diversity by cutting open corps and heads. Subsequently, this procedure is portrayed by the Empty Shells. This is again followed by multiple letters where the parents address the asylum. He proceeds to share public advice, with Lotte taking the stage to introduce a social-Darwinist textbook detailing the diagnosis of functional diversity through the dissection of bodies and heads. Following this, the Empty Shells enact this procedure. The sequence continues with the presentation of various letters, in which parents express vehement objections to the treatment of their sons and daughters at the asylum.

The mood shifts as lively, popular music starts to play, and the Empty Shells resume their dance. The music fades out again, making way for Agnes' entrance. She delivers another monologue, while Roland provides a translation: "They took me to a factory, forcing us to sew uniforms without rest…" - they mime the act of sewing, with Agnes displaying palpable panic. Suddenly, Roland exclaims, "You're mute and dumb!", prompting Agnes to burst into tears, sometimes struggling to articulate coherently. After a few minutes, Hans takes center stage. The atmosphere becomes intense as dramatic music sets in. He begins by speaking about his unrealized aspiration to become a doctor but swiftly shifts to demanding that they not take his brain, administer injections, or deport him. He recites the names of his bones. The tone brightens as joyful music returns and the Empty Shells transform into doctors, marching and performing the Hitler salute. Hans assumes a position on a raised chair, launching into a pseudo-lecture in a fascist-style about a euthanasia program aimed at purging society of mentally ill and "non-practical" elements. His notions are justified by emphasizing cost-saving measures and presented as a so-called "liberation" for the supposed well-being of the nation. The speech culminates with all of them collectively shouting "Euthanasia," accompanied by the projection of a swastika on the wall.

Next in line are Roland and his twin, Teo, the mime artist. Roland proceeds to narrate their experiences of being deported to an internment camp, alongside numerous others. He vividly portrays the conditions of imprisonment and their attempt to stay together, despite being forcibly separated eventually. (This occurred when someone brought Roland to the asylum, whereas Teo's whereabouts remain unknown.) The spotlight then turns to Heide, as Lotte recounts a harrowing incident involving her. She describes a "special day" during which Heide and a group of children were subjected to deportation. Upon arrival at their destination, they were compelled to disrobe and remove their shoes. Subsequently, both Heide and the children were ushered through a metallic doorway, presumably leading to a gas chamber. The scene concludes with a somber song, followed by the characters returning to their dance.

Hans takes the spotlight again, introducing the "specter car," the bus that has been central to the play's depiction. Lotte and Roland describe the bus's mechanical aspects while cheerful music plays in the background. Gradually, it becomes evident that the bus itself serves as a gas chamber – the blueprints for this chilling reality are projected onto the walls. The ensemble of Empty Shells then collectively acts out an explanation: they refer to themselves as "auto-nominated" entities – essentially, their bodies are hollow shells. Unable to fulfill the role demanded by a fascist society, they are relegated to being mere test subjects for so-called "science" and "knowledge." The mood shifts as dramatic piano music takes over. The walls display a seemingly endless list of victims who perished due to the "T4" program during the Holocaust. With the cessation of music, all Empty Shells take their seats, some embracing in comfort. A menacing sound emerges, evocative of the release of Cyclone-B gas. With this haunting note, the play comes to an end.