A small focused section is created with three tiers of spinning conveyor belts and black wall gate cutouts. Despite the endless movements, the audience only ever sees a small segment of the entire stage set-up.

The space consists of three concentric rings that can rotate, with and against each other. In the center is a cylinder that forms the back wall. There are three portals facing the viewer, which sit on the borders of the individual ring roads, and a main portal that closes off the space to the front.

The visible section is small, concentrated, claustrophobic. However, the structure of the stage design is enormously complex, since everything is connected to everything else. Attempts to work with only a semicircle have been discarded. As a result, there are no limits to movements from all directions on all three lanes.

The surfaces are very fine, two layers of plywood, milled hole recesses, which were worked with different black tones to match the respective circle and distances to the cut-out openings.

Friction wheel motor units were built to drive the three rings. One of them had to be embedded in the ground. They have set the rings in very slow and continuous motion. To compensate for the unevenness of the stage floor, the rotating rings ran on a substructure made of upward-pointing rollers that were placed on the floor.

Since the structure was placed under the portal, it was necessary to fit an auxiliary rigging loft in the shafts between the walls, providing suitable tie rods for the lighting. In order to be able to get to the apparatus, it was necessary for the tie rods to be movable, which necessitated somewhat complex wiring and the corresponding steel construction.

Ladders could not be placed on the inclined floor of the rotating rings, and the inclination of the stage in the Komische Oper created additional challenges in combination with the vertically hanging walls. These were guided with swords in the driving gaps and braced against horizontal movements in the stage building.

For the cooperation partners of the production, in whose houses there was no stage case, appropriate adaptations had to be made, especially on the front portal.