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Expanding the horizon of languages to its limit, pointing to frictions and shocks, speculating over couplings of forms and tones that are absolutely not judicious, is, for me, an ancient practice, and an exact poetic project. The theater, which is, par excellence, a “form of disguise” seems to me to invoke such manipulations, aiming at a full inventive disruption, if anarchically well tempered. And this applies to the word, the sound, the image, the gesture. After all, you know, Shakespeare teaches.
Festival di Spoleto 1998