The adaptation of Shakespeare's masterpiece in Sardinian
The revelation of a theatre talent
Winner of UBU and National Critics Awards as Best Italian production in 2017
Shakespeare’s Macbeth, performed in Sardinian and, in the pure Elizabethan tradition, by an all-male cast. This is the project by Alessandro Serra, founder and director of the Italian theatre group, Teatropersona. The idea originated in the course of 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 Dionysius 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.
Surprising are the number of analogies between the Shakespearian masterpiece and the variety of masks found in Sardinia.
The Sardinian tongue does not limit fruition, 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 ancient Nuragic civilizations. Matter that does not convey meanings, but primordial forces that act upon the receiver.
Italy / Triennale Teatro dell'Arte, 13-16 December 2018
Croatia / Zagreb International Festival, 21 September 2018
Switzerland / Geneva La Bâtie festival, 4-5 September 2018
Finland / Tampere Theatre Festival, 8-9 August 2018
Poland / Shakespeare festival, 4-5 August 2018
Italy / Teatro Massimo Cagliari
22-23 March 2017 (opening)
complete tour schedule available on demand
by Alessandro Serra
based on William Shakespeare’s Macbeth
Fulvio Accogli, Andrea Bartolomeo, Leonardo Capuano, Giovanni Carroni, Andrea Carroni, Maurizio Giordo, Stefano Mereu, Felice Montervino.
translation into Sardinian and language advisor
collaborator for movements on stage
sounding stones by Pinuccio Sciola
sounding stones compositions
direction, set, light, costumes
Sardegna Teatro and Compagnia Teatropersona
and the support of
Fondazione Pinuccio Sciola and Cedac Circuito Regionale Sardegna
international tour management (North and East Europa, Asia, Oceania)
Laura Artoni │ pro scena
duration of the show │ 1h30 without intermission
photos © Alessandro Serra
"Classicism in theatre is an attitude. A memory in fusion. A form that is anchored in a culture and that magnifies it. The gesture of the Italian director Alessandro Serra is of this order, it is beauty. [...] Everything is of this ilk in Macbettu, ingenious and musical. In the time of dominant technology, Alessandro Serra and his company propose a theatre that is raw, rooted in the materials, the wood, the stone, the fabric of the acrobats, the resonances of calabash. He signs a eulogy of the group as a great bewitching body." Alexandre Demidoff, LE TEMPS (Switzerland) read the complete article in French
"Between theatre and choreography, but also painting and music, fairy tale and ceremony, Macbettu meets favour wherever his tour leads it. The Shakespearian tragedy finds itself reincarnated in a living matter that history allows to last." Katia Berger, LA TRIBUNE (Switzerland) read the complete article in French
”Macbettu is not based on dialogue alone, as visuality and movement expression play equally major roles in the whole. It is a complete artwork by Alessandro Serra that offers the spectator magnificently breath-taking visions.” Anni Saari, KESKIPOHJANMAA NEWSPAPER (Finland)
”The show radiates Sardinian masculine energy, its metallic set echoes frantic voices and its sceneries are like rough, beautiful paintings… Macbettu´s precision is as precise as it can get. It is imaginative… Macbettu creates beautiful images on stage.” Anu Ala-Korpela, AAMULEHTI NEWSPAPER (Finland)
"Very interesting, Serra’s performance, that translates Shakespeare’s tragedy into Sardinian and sets it an iconography inspired by the traditions of Sardinia. Above all, it is interesting because it is not a performance that sets off with the intention of subverting Shakespeare. On the contrary, it is rigorous and respects the original. The staging alludes to certain archaic sensations, a sort of primal nature of “Evil”, by way of the suggestive and the visual." Anna Bandettini, LA REPUBBLICA (Italy)
"Serra has succeeded in creating a magical and original bridge between two diametrically opposed planets: Barbagia and medieval Scotland. The raw and archaic world of pastoral Sardinia endows the Shakespearean heroes with its customs and traditions, tics and voices. The scenographic choices are very beautiful, essential and totemic, spot on chiaroscuro lighting and and excellent cast: all-male, as in Elizabethan times. But truly masterly are the crazed interludes of the witches, wacky emissaries of evil: never has one laughed as much during a Shakespearean tragedy." Michele Weiss, LA STAMPA (Italy)
"Enthralling, visionary and apocalyptic. Like a Myth. It has evocative power as well as a contemporary sense of the tragic, recalling the wars displayed daily on televisions’ small screens, with their charge of mourning and tragedy." Walter Porcedda, LA NUOVA SARDEGNA (Italy)
"The gloominess of Scotland is easily exported to Sardinia, to barbaric Barbagia, equally as gloomy, chthonic and necromantic: the idea originated in the course of the director’s photographic coverage of the carnivals in Sardinia’s Barbagia region… and it is enough to see the “walking forest”, transposed to the stage in a procession of arboreal masks, to realize its ingenious contamination." Camilla Tagliabue. IL FATTO QUOTIDIANO (Italy)