Umberto Orsini, one of the greatest performers of the Italian theatre, returns to give voice to Ivan Karamazov, the controversial and tormented protagonist of the last - and probably the greatest - novel by Fyodor Dostoevsky, The Brothers Karamazov.

After Bolchi's successful television drama and The Legend of the Grand Inquisitor, this "new Karamazov" is for Orsini an opportunity to directly confront one of the most complex and tormented characters in all of literature: Ivan Karamazov, the free thinker who theorizes the amorality of the world and perhaps knowingly leads to murder his father's killer. Guilty and innocent at the same time, Ivan Karamazov speaks again, like a now mature man who feels he has not completed his task, who feels that his fictional character is too limited to express the complexity of his thought and to clarify the exact dynamics of the "crimes" and their “punishments". He confesses and tries to tell his story. He writes his memoirs and tries to shed light on his own feelings and philosophy, trying to reveal the criminal implications in a true psychological and moral thriller whose highest point remains the imaginary poem by Ivan which tells of the metaphorical confrontation between a Christ returned to earth and an old Inquisitor who believes that He deserves to be burned at the stake.

In the richness of a language that is as penetrating as it is immediate and in the alternation of the psychological states of an "Hamlet-like" and elusive character, Umberto Orsini is the great protagonist of an unprecedented journey into the human conscience that is not afraid to face ancient and modern taboos (the death of his father, his exasperated vitalism, his encounter with the devil) plunging Ivan Karamazov into his own personal "underground" from which he composes hallucinatory yet highly lucid memoirs, forty years after the events of Dostoevsky's novel.

Accompanied by music in a compelling and fervent emotional dialogue with the words that he pronounces, Orsini makes a heartrending and moving confession face to face with himself and with his own ghosts, halfway between literary fiction and the conflict worthy of Pirandello with a character in which he finds the darkest expressions of his own "Ego".