On Shakespeare, the study of Macbeth is the one most explored by the director since the early 2000s; it has been staged everywhere, especially outside the traditional theater.
Here, the actor becomes a talisman, opening an evocative dimension in four directions: the Witches, Lady Macbeth, the Ghosts, and the Human Forest.
Communication shapes itself around bodily memory before expanding into the audience’s perception.
We are certainly beyond the recognized space-time line. It is the body that transcends space and time. Every bodily occurrence, every physiological change is a specific effect to cultivate for the scenic discourse.
In this context, theater is not limited to representing only the earthly world, as in the Middle Ages, when it reflected both the upper and lower realms.