"Will this clock never stop?”, Danton asks, as time speeds up and history appears to violently begin anew. Such is the primary meaning of “revolution”: to face the challenges of beginning. Danton’s Death (1835) plunges us into the poetic and bloody chaos of the French Revolution, while being a revolutionary play itself. Georg Büchner operates a ferocious fragmentation of traditional theatrical form, mixing scenes of greatly varying length and tone, short and long, frantic and meditative, into a clashing narrative flux that anticipates cinematic montage. With it, Nuno Cardoso inaugurates a new season, his first as artistic director of the TNSJ. Through it, he looks at a social body in permanent convulsion and decomposition, an orgy of human flesh. But the Paris streets of 1789 are the same through which the Yellow Vests’ rebellion runs now. Streets that flow into the Mediterranean or the Rio Grande, into the return of walls, the power of hatred, the rise of populism. “Such evil times are these. Who can escape them?” Danton’s Death has always confronted us with difficult, frightening questions. “How long will humankind continue to devour their own body?” “Will this clock never stop?"