Romeo y Julieta de bolsillo

Popular classic theatre

I firmly believe in “family-oriented theatre”, despite the scorn heaped upon it so often by marketing pundits, that allusions to its significance and function are few and far between. The creation of bonds to enrich the relationship between spectators and theatre professionals is a reality. But what happens when one wishes to appeal to a broader public? When children are taken to see a show, they aren’t just left in the theatre while the adults wait outside (at least I hope not). What could be better, then, than to provide an experience that allows the public to enjoy “popular theatre” full of layers but unfettered by double meanings? The kind of theatre that levels up without leaving anyone out. The type of theatre associated with the giants among classic playwrights, whose works are perfectly structured for use as a trampoline and vehicle of recreation for their rediscovery with new forms of expression. With this opportunity, Shakespeare is our amusement park, and the word is our challenge. How can we create an A.T.P. version of a tragedy without altering the story, without sugar-coating certain situations or refocusing the dramatic arc? How shall we go about reinventing such an oft-heard anecdote while sidestepping the pitfalls of banal modernisation? I believe in theatre of emotions: theatre that is only worth the effort if there are emotions. Now, let’s play!!

Emiliano Dionisi
Author of the work and troupe director