top of page

Shakespeare’s Lovers

Shakespeare's Lovers : a journey on the loving passion, in the territory of Eros . William Shakespeare's women: Juliet, Isabella, Lady Macbeth, Lucrezia, Desdemona, Titania, Cleopatra travel among some islands of Romeo & Juliet, Measure for Measure, Macbeth, Lucrezia Violata, Othello, A Midsummer Night's Dream, Antonio & Cleopatra. In relation to their men and ghosts.


What unites them? What is Eros? Why do they end up like this?


As in Shakespeare the tragic mixes with the comic, in this show tragic situations alternate with scenes of comic relief.

There are various forms of Love and different types of women in love: here they are divided into various categories: those focused on love for a man, for power, for the theater.

In a theater where men played female roles, here, even the male ones are played by women to give a female point of view on female characters.


Shakespeare, master of passions, shows us the most violent ones here . The eternal relationship between actress and director is superimposed on the relationships between these women and the objects of their desires, in the surreal context-frame of a theatrical audition.


Why Isabella, Lucrezia, Lady Macbeth, Titania, Desdemona, Cleopatra? What do they have in common? A destiny determined by their passions, by their relationship with Eros.

Juliet is one of the most eager Shakespearean women, Isabella is the most disgusting guardian of her chastity, Lady Macbeth uses seduction as a weapon, Desdemona is stubbornly faithful, Titania is obsessed with sex, makes love to an ass, Cleopatra is caught in the moment in which it relates to a phantom love object: the asp. Among the many women invented by Shakespeare's imagination, what counts here is also the role of the woman alongside the men with whom they gradually relate.


Mad women for their passions , stubborn, capable of incredible dedication, boundless admiration. Queens women. A feminine and fantastic circle, a gallery of characters, characters and passions of disconcerting modernity.

bottom of page