This happens with great authors, perhaps especially with Shakespeare: their texts, their stories, their characters are, literally, immortal. They continue to speak to us, to amaze us, to enchant us; sometimes they even help us understand who we are, what is happening to us now.
And when you encounter one of these perfect stories, you usually fall in love with it, and above all you realise that it would make no sense to try to invent another one to say the same things, but that it is legitimate, perhaps even necessary, to continue telling that one.
Precisely that one. This is what happened to Gabriele Vacis and Lella Costa, and not just once. It is what excited them to such an extent that they decided to bring their Othello back to the stage after 24 years, preserving the narrative substance (Shakespeare) intact but intervening and modifying those parts where current events, or rather contemporary events, required an update.
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