In the form of diary entries, Stathis Livathinos writes about his life. About the "preparation," how a child growing up in Exarchia during the '60s and '70s is oriented towards art.

About the "apprenticeship," the years of his studies in Moscow alongside teacher-successors of Stanislavski who marked the history of modern theater. About his return to Greece and the "act" – the persistent, sometimes agonizing effort to make every performance the culmination of a collective process – about the people who shaped him.

"Three eras" which, in parallel, speak about the evolution of every artist and the, inevitable, management of vanity. Speaking about specific performances of his, which have already left their mark on modern Greek performance art, Livathinos presents the essence of his experience covering a wide range of issues, from the relationship between director and actor and the search for the "theme," to auditions, improvisation, set design and theatrical lighting, from the ethics of theater to audience demands, and from the experiment of the Experimental Scene in 2005 to the vision for the National Theater and its School.

"How is memory maintained? How does one choose what to keep and what to discard? Crucial questions for me, but they remain unanswered. With these notes, I wanted to honor the moments that have been gifted to me so far, as well as those who gifted them to me, those who loved me, guided me, or punished me – usually for a good cause – as well as those who supported me, believed in me, and accompanied me...

There are no examples to emulate, no matter what they say. Each of us has our own path. However, if there were something in all this that could inspire a young artist to grasp a thread without fear, and at whatever cost dare to make their own mistakes, it would be a beneficial and transformative outcome for me...