Albert Camus’ The Just Assassins is a confrontation of ethical perspectives on sacrificial death motivated by an ideal of world transformation. Is it or is it not legitimate to kill in order to change the world? The debate divides the members of a group of revolutionaries in Tsarist Russia who are preparing and carrying out the assassination of the Grand Duke. In mala voadora’s show, a parallel is drawn between the attempts made by the members of the terrorist group to carry out the attack and the attempts made by the collective of actors to put on the show. The theme is enunciated by showing the dictionary definitions of ATTACK, ATTEMPT, INTENT, TRY and TENTATIVE. Then the actors take ownership of the text as they usually do during a rehearsal process: they practice memorising it, discuss it (they act it out sitting around the table, as if they were, as actors, discussing the dramaturgical content of the play), try their hand at acting it out; after the murder is consummated, the table is used as a small stage on which they finally ‘make theatre’ (the tone is then grotesque). The text of the last act is only projected. With no set, no costumes, no technique (light and sound) apart from simple devices operated by the actors themselves, Os Justos was Jorge Andrade’s first staging, for which he was awarded the Honourable Mention of the 2004 Madalena Azeredo Perdigão Prize, awarded by the Calouste Gulbenkian Foundation.