In reference to the surprising ability of the tale to unfold through infinite traces and countless interpretations built in the narration, the performance creates a series of imaginary paths that meet by an unexpected logic; the suspension of the tale represents a fragile world where one can venture and be astonished, amazed and enchanted.

The plot doesn't reproduce the coherent narrative progression of the fairytale, but collects its imaginary representations, organised around a simple scenery with a little yellow house at the centre of a synthetic lawn; the yellow house acts and hides from view, explodes and invades, amplifies and disseminates. It is the heart of the stage, so fragile and inaccessible, that shows one by one its objects and inhabitants.

In a permanent enchantment the performance unfolds with the appearance of characters from Pinocchio, chosen among the reference figures that determine, in the escape of the puppet, the continual changes of the story: the Blue Fairy, charming and cruel, the father Mangiafuoco Geppetto, the miraculous Cat and Fox, and Lucignolo, the only boy who dreams of becoming a puppet.

The absence of the rebellious and loving wood character refers to an off-stage presence, to a child's outlook which evokes for an instant the figure of the main character, who transports his experience in the outside world. Only at the end do the field of miracles and the magic yellow house welcome the presence of Pinocchio as a missing figure, drawn on the lawn and evoked through the transformation of the house that amplifies its deformity, relinquishing once and for all the human evolution of a small piece of wood.