War and Peace. Women and Men. Sex and Politics. They accompany us from dawn to sleepless nights, in an endless cycle. Ever since Zeus, the angry thunderer god who strikes us with lightning bolts, the god who deceivingly abducted (and violated) the beautiful and innocent Europa, engaged in numerous affairs, many of them of a sexual nature, but out of fear of his wife Hera, he approached his chosen ones in different forms. He deceived Europa by transforming himself into a bull with golden horns. Since then, Europe, once happily bathed in the Mediterranean, losing its innocence, has become a battlefield for wars motivated by various reasons, devastated by their collective senselessness. Sadly, this continues to the present day. Theatre, as a sacred space and a hub of discussion and questioning, a kind of oracle and modern-day Delphi, provides us with a platform for the pursuit of truth. It is on this very stage that four sharp pens have converged, exploring the same theme for this production - war. Aristophanes, who first wrote a Greek comedy with a female character in the lead role: "LizistRATa," as the name suggests, is known as the earliest text in Western civilization that addresses the issue of the marginalization of women, within the broader context of a pacifist message that still resonates today. Even Aristophanes knew that sex and politics are not only the most powerful motivators of social relationships but also of male-female relationships. We witness that, in conjunction with money, in today's life, politics and sex play a crucial role. However, despite the lascivious satirical jabs that we will throw at you and the fierce ridicule of specific phenomena, our goal is to pave the way for utopian ideas of transforming society into a world without conflict, hatred, and wars, both between nations and genders. Homer, through excerpts from his "Iliad" written in the "period of deepest darkness" following the Dorian invasion of Greece, adds to the stage parts of his epic. This production brings descriptions of the victims, myths, and truth, heroism and the senselessness of the same, exposing and showcasing the tragic and the comical, action, and philosophy. Lucić's poetry, a jewel of anti-war poetry, is an amalgamation of the theatrical events and the driving force behind the idea of this anti-war theatrical adventure. Matišić, without a hint of pathos, convincingly depicts the tragic way in which the horrors of war continue to define today's lives, persisting in the people who went to war to defend their country but could not escape its grasp. And we laugh at it all. Granted, it's a bitter laughter. We laugh because in their schizophrenia, in their quest for justification of their existence, beliefs, and decisions, in that absurd dissonance, we recognize the gap of (im)possibilities in which we are all trapped together. The interplay of these different scripts, opposing in time and civilizations, but united by their theme, secures a space for theatrical exploration, revealing the ills of society, unraveling the problems of our troubled existences. It serves as the dramaturgical mode of this production. Witty, poetic, yet without sugarcoating, and biting.