“To leave a bounded region designatedas “home”, to come in contact witha cultural other, and to return withsome sign of gain (or loss), reflectingthe experience” Bakthin 1981. With these words Michael Bakhtin considers the essence of a journey, a movement that always leaves its mark on those who have undertaken it, regardless of its type, motivation or duration. From that point on, we will consider how different actors experience and characterise a journey thus producing singular perspectives. If some researchers already described different types of “travellers», from the explorer, the crusader, the missionary and the trader (Fussell 1980), and finally including and comparing tourists and anthropologists (Harkin 1995), we propose to analyse another type of traveller: the migrant. Chronologically prior to all the others, the migrant also follows a path that leads him to come into contact with others, even if the mirage of the prize (reaching another land) often obscures the price paid in the process (Gaiman 1991). There, in this experience of otherness, not always wanted or pleasant, our work will aim to "semioethically" (Petrilli 2004) delve into the theme of coexistence/interaction between these subjects. Some European islands (Lampedusa, Lesbos, Gran Canaria) will be chosen as "living settings" for this primordial drama, in whose last "rerun" the actors move behind the backstage (the African coasts), waiting to make their entrance on stage (the Mediterranean Sea), observed by an audience arranged inside a huge auditorium (the European countries).