We beg your pardon for violating such a sound tradition yet, in our humble labour of craftsmen, we have sewn and woven his words into our song and have nurtured his poetry with the strictness and delicacy of undeterrable alchemists in love.

with
Augusta Balla, Daniele Bernardi, Giorgia D’Agostino, Andrea Fardella, Silvia Genta, Michele Guaraldo, Viviana Gysin, Simone Martino, Camilla Parini, Maria Porter, Paola Raho, Fulvia Romeo, Damian Soriano, Carlo Verre, Freddy Virgolini, Valentina Volpatto, Sturmius Wittschier.

set design
teatro delle radici
Luca Minotti
collaboration
Maria Cascio
Gabriele Genini
Pierfranco Sofia
Delfino Palo
photos
Stefano Roggero
Camilla Parini
director assistant 
Bruna Gusberti

direction and dramaturgy
Cristina Castrillo

“Shakespeariana” is an approach to the images and the poetic world of Shakespeare’s work.
It was not our intention to stage one of the author’s plays nor even scenes from them, but to try to seize upon those elements which could become a powerful metaphor of the contemporary world and, to our eyes, a way of writing about our own realities.
Reaffirming the expressive value which is contained in a gesture, in a composition of movements, in a physical image or in a word, we immersed ourselves in three fundamental subjects upon which, we feel, the author constructed his work, just as man has constructed his own existence: power, violence and love.
Through the moods and atmospheres of relationships, the clashes, betrayals, loneliness and the easiness of death as well as the impossibility of affections or extreme feelings, a different work appeared, a work which Shakespeare never wrote, but which would not have existed without him. In fact, the text of the show contains only and exclusively sentences of his, taken from all of his works, including the sonnets.

We imagined a group of traveling actors, the kind which Shakespeare much adored, arriving at a castle to perform his plays or the “truths” which the prince needed to have laid before him.
We thought at times that theatre could give us that moment of awareness about life, about mankind, and about the feelings which life sometimes denies us.
We allowed ourselves to mix up the characters, the situations, the relationships. We did not respect the logic of Shakespeare’s work but we wanted to feel a part of that grand theatre of the world which comes through in his writings and to perceive existence like an enormous stage and see people as simple instruments of an author or of the power of others or of fate.

And in the framework of this ancient representation, the situations became the mirror in which we could reflect those same mechanisms of impunity, intrigue, violence, and the lack of feeling which today’s world has still not finished coming to terms with.
Seen like this, Shakespeare appears to us not only as a hero of universal playwriting,  but also as a critical voice commenting on the state of today’s world: a testimony of our own time which must not be left to oblivion.
Seen like this, Shakespeare could be talking to us not about a vanished century but about a reality which is alive and suffering.