The action is set in a church, preferably one with nave and two aisles: in front of the apse, in the nave - where the available space is shared with the audience - and in three "selected spots". Building materials are piled in a disorderly fashion; at the center of the nave is a stone - bordered grave; other props are in the apse; in front of the altar is a transparent screen which reveals the outline of a seven-step ladder set diagonally. Here and there are groups of unlitcandles and spotlights to be aimed at the "selected spots". The two parts of the dramatic action are complementary.
Pursuing the idea first elucidated in "Scene del Potere" and other instrumental compositions, such as "Pentalfa", "Variazioni 1" and "Variazioni 2", "Rappresentazione" is a like a canvas: something objective to be shown to an audience; the action follows a logical course - from the Word to the death of the Annointed - which is open to different interpretations. "Esercizio" is a withdrawal into oneself; on the part of the performers, it is a realistic meditation on each one's personal descent into darkness, denial, and the powers of hell. It is not the representation of a fancy, but rather an "opera-action", which takes place in front others - the audience - in an attempt to get them involved. Only in this sense can it be considered a theatrical work. Consequently, the role played by music is, in the first part, that of a predominantly esthetic façade, while in the second part it becomes a "technical" support, an aid for concentrating on the spiritual exercise. This is the character which must be given to the entire performance: performers must not efface their individuality to impersonate any given role: memorization is not necessary, the score can be read, pitch can established with tuning-forks, etc. And during the "Esercizio", acting must be spontaneous and immediate: before the performance players must examine, organize, and "charge" their thinking. If the players' energy is not collected - if they are "not in the mood"- it would be better to cancel the performance or, better yet, to ask those present not to be mere spectators, but to contribute to the "psichic opera-action". Those who do not feel ready to go up a step (from "Rappresentazione" to "Esercizio") may leave the premises, physically or otherwise.