“Macbeth” was acknowledged by the Italian Theatre Critics’ Association as the Best Italian Production in 2017 and was awarded the prestigious UBU prize.
Shakespeare’s “Macbeth”, performed in Sardinian and, in the pure Elizabethan tradition, by an all-male cast. The idea originated in the course of Alessandro Serra’s photographic coverage of the carnivals in Sardinia’s Barbagia region: the gloomy sounds of cowbells and ancient instruments, the animal skins, the horns, the cork; the power of the gestures and of the voice, the kinship to Dionysus and, at the same time, the incredible formal precision of the dances and chants; the sullen masks and the blood, the red wine, the forces of nature tamed by man. But, most of all, the dark winter.
What is surprising is the number of analogies between the Shakespearean masterpiece and the variety of masks found in Sardinia. The Sardinian dialect does not create limitations but transforms into chant what in Italian might remain mere literature.
An empty playing space, animated by the bodies of actors that create settings and conjure up presences. Stones, earth, iron, blood, warrior stances, vestiges of the ancient Nuragic civilisation. Matter that does not convey meanings but primordial forces that act upon the receiver.
“The images of the performance possess a violent, archaic power, both beautiful and terrible at the same time, and the Sardinian language (incomprehensible to me and to many others) opens up a sonorous panorama that is no less dour and fascinating than the visible one. But, incredibly, what stitches these grim elements together is a subterranean irony, a chthonic and gothic hilarity that, for once, does not sabotage the drama but tames it through comedy and exalts it.”
Graziano Graziani, „Minima & Moralia”