A landscape where emotion is interwoven with sound, image and materiality on stage: Alessandro Serra's adaptation of Macbeth
Waiting for MACBETTU , July, 13rd 2024, Teatro Lirico di Cagliari-Sardinia © Mehmet Kerem Özel In the middle of summer, with the humid heat of July raging everywhere, I set off for a weekend in Cagliari, the capital of the island of Sardinia in the middle of the Mediterranean. My aim was to see a show that, since its premiere in March 2017, has had 350 performances around the world in seven years, from Peru to Japan, from Finland to China, from Azerbaijan to Bosnia-Herzegovina, from Russia to Brazil, as well as many cities in its home island of Sardinia and its home country of Italy. This show was MACBETTU, long after its last performance in 2022, returning from a one and a half month, four-stop tour of the Far East, and after many years in its own city for a single performance on 13 July 2024. Inspired by the carnival traditions of the island of Sardinia and translated into Limba, the local language of the island (the translation belongs to Giovanni Carroni, one of the actors in the