Reading Shakespeare one comes across a reality made of contrasts: the high and the low, the lofty and the vulgar, the comic and the tragic.<\/p>\n
In perhaps his darkest tragedy, King Lear (written, among other things, precisely in the wake of a plague epidemic that had closed London theaters for a year), Shakespeare takes away from the spectator every certainty, every fixed point. The king talks to his fool and it is not clear which of the two is the fool. The apparently good sons are bad and vice versa. Everything is permeated with black humor. <\/p>\n
Despite the famous line \u201cMaturity is everything\u201d, the characters react in a childish way, almost like puppets in the hands of fate: \u201cLike flies in the hands of cruel children we are for the gods\u201d. So we imagined reducing the Elizabethan scene to a puppet show: King Lear is a real actor who has to deal with his ghosts carved in wood. In Italy there is a tendency to label puppets as \u201cchildren\u2019s theatre\u201d, forgetting the ritual and demonic origin of the masks (Harlequin, Brighella) and the disturbing aspect of some characters of the puppet theatre (Punch, Guignol\u2026). Walter Broggini (a puppeteer who has toured all over Europe with his puppet theatre show for adults \u201cSolo\u201d) meets Luca Radaelli (an actor who has already tried his hand at \u201cMacbeth Banquet\u201d in a Shakespearean theatre with objects) to give life to a King Lear who draws inspiration from popular theatre, farce, and the demonic ballet of wooden heads. Brighella identifies with the villain, the bastard Edmund, the Lombard Pir\u00f9 takes on the characteristics of the Fool and the faithful Kent to accompany Lear on the path that will lead him to be wise only through madness, just as, in parallel, the deuteragonist Gloucester will only be able to see through blindness. In this kind of world where the blind lead the mad. <\/p>\n","protected":false},"excerpt":{"rendered":"
Reading Shakespeare one comes across a reality made of contrasts: the high and the low, the lofty and the vulgar, the comic and the tragic. In perhaps his darkest tragedy, King Lear (written, among other things, precisely in the wake of a plague epidemic that had closed London theaters for a year), Shakespeare takes away […]<\/p>\n","protected":false},"featured_media":7858,"template":"","meta":{"_acf_changed":false},"edizione":[111],"tipologia-evento":[106],"class_list":["post-15114","evento","type-evento","status-publish","has-post-thumbnail","hentry","edizione-2022-en","tipologia-evento-theathral-show"],"acf":[],"_links":{"self":[{"href":"https:\/\/festivaldeitacchi.com\/en\/wp-json\/wp\/v2\/evento\/15114","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/festivaldeitacchi.com\/en\/wp-json\/wp\/v2\/evento"}],"about":[{"href":"https:\/\/festivaldeitacchi.com\/en\/wp-json\/wp\/v2\/types\/evento"}],"version-history":[{"count":0,"href":"https:\/\/festivaldeitacchi.com\/en\/wp-json\/wp\/v2\/evento\/15114\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/festivaldeitacchi.com\/en\/wp-json\/wp\/v2\/media\/7858"}],"wp:attachment":[{"href":"https:\/\/festivaldeitacchi.com\/en\/wp-json\/wp\/v2\/media?parent=15114"}],"wp:term":[{"taxonomy":"edizione","embeddable":true,"href":"https:\/\/festivaldeitacchi.com\/en\/wp-json\/wp\/v2\/edizione?post=15114"},{"taxonomy":"tipologia-evento","embeddable":true,"href":"https:\/\/festivaldeitacchi.com\/en\/wp-json\/wp\/v2\/tipologia-evento?post=15114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}