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“Who owns Shakespeare?” is a compelling question when one decides to delve into the relationship between the English author and experiences that share, albeit with considerable mutual differences, the category of marginality. At the centre of the volume are the case studies: Un’isola. Dalla mia finestra si vedono le montagne (2018), a production based on The Tempest and performed by the actors-prisoners of the Vigevano prison, directed by Alessia Gennari; Otello Circus (2018), by the company La Ribalta/Accademia Arte della Diversità, staged with actors with disabilities by director Antonio Viganò; Mal’essere (2017), a rewriting in Campania dialects of Hamlet, conceived and directed by Davide Iodice and produced by the Teatro Stabile di Napoli.
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Keywords
- Italy
- Marginality
- Shakespeare
- Théâtre
- Translation
Links
DOI: 10.36253/979-12-215-0520-7Editions