The play examines a system where violence has become normalized, obedience has been transformed into virtue, and the individual has gradually been reduced to a mere function. The director, drawing on dark humor and surrealism, continues this style with a tragicomic and grotesque staging in Joko's Birthday, making us realize that the production of consent is the system's most loyal guardian.

The transformation of Joko, a wastewater tank worker, who accepts carrying others on his back, shows the viewer how power normalizes violence, oppression, and inequality through consent.

Joko transforms from a person into a carrier, from a body into a tool. This transformation doesn't happen suddenly; on the contrary, it progresses insidiously, with extremely orderly, logical, and "reasonable" justifications. What Joko is subjected to is not exceptional cruelty, but the system itself.

While things that are irrational, terrifying, and incongruous shatter people, the system sustains and strengthens itself precisely through this fragmentation. Topor, while absurdly revealing the true face of life, also exposes this great deception with his wit and sharp humor.