Shakespeare's Venus and Adonis was composed in 1593. It is one of William Shakespeare's longest poems, consisting of 1194 lines and dedicated to Henry Wriothesly, third Earl of Southampton, in which the poet describes the poem as "the first heir of my Invention". The city is infested with the plague and must close the doors of all its theaters to avoid the spread of the epidemic. Shakespeare is inspired by the tenth book of Ovid's Metamorphoses and defines Venus and Adonis as "the first birth of my fantasy". When Shakespeare's school friend Richard Field publishes “Venus and Adonis” it is, immediately, a great success. It can be said that it was the most popular poem of the Elizabethan age. Everyone reads it. Everyone mentions him. They say they have a copy under the pillow and use the words to seduce young women. Much appreciated among gentlemen and courtiers, it soon became a sort of amateur's vademecum, equally popular in the library, boudoir and brothel. It is reprinted over and over again. Field appears to have printed 1000 copies of the first edition. The poem is equally comic, erotic, and moving.
"The last night of the Rais is a modern tragedy, the tragedy of a man who, page after page, shows us his childhood traumas, his sensitivity, his humanity, his fragility, his fears and anxieties and then suddenly surprise us with his perversions, his thirst for power, the irremediable desire for self-celebration. Precisely in the unshakable faith in himself and in the conviction of being the chosen one, the first, protected by God, Gaddafi, until the last moments, felt untouchable and awaited a miracle. He believed he was the revolutionary, he thought that no one would ever betray him, not even his people ».
The man of today wonders about fundamental questions – Will there be a future for human life or is there only a catastrophic prospect before us? What role will science and technology play in this catastrophe, seen today exclusively as the light of the future? What tribute will be paid to progress? The loss of memory and identity? The degradation of values and the inexorable transformation into consumers/consumed? How does today the theme of the relationship between the human and the divine reappear, in such difficult times of intolerance, racism and fundamentalism? Prometheus is the hero of the border, of the mediation between these two worlds, both of them so different. What a terrible thing is the human being. Even more terrible is the world of the gods. A great master said that the ancient texts are like signals coming from luminous stars that have now disappeared. Update these texts and try at all costs to find a direct relationship is like closing our eyes to our contemporaneity. In this moment of loss of values and ideals, of absolute degradation and superficiality, of lack of gods and Titans, of unbridgeable human arrogance, it is absolutely necessary to confront ourselves with the ancient word, to try to decipher the luminous reverberation coming from those stars that have now disappeared, to stop at the edge of the abyss, to wait, to look at the light and to reflect on our future destinies. For a moment. Just for a moment.
"Black Sea" is not an ordinary show. In this work there are no "characters", there are no "theatrical inventions", nothing "represents" anything.Every day we hear news of shipwrecks in front of the coasts of Libya or in front of our coasts, near Lampedusa, amazed, incredulous, but now irreparably addicted, anesthetized in front of the TV screens of our living rooms. Men, women, children, left to themselves, saved or left to die in the waters of the Mediterranean. These tragic events are daily transformed into political matches, exhibited and exploited by this or that bailer on duty. In this shocking, visionary and non-rhetorical text, Gianni Paris tries to touch the inner life of these men left to themselves. Their candor, their naivety, their expectations emerge in an almost surreal reality. The journey to the Italian coasts becomes a mental, dreamlike journey, a modern tragedy, a close confrontation with the ghosts of each of us.