theatrical metamorphosis from King Lear by William Shakespeare __________________________________________________________________________________________________

King Lear by William Shakespeare is a work that speaks of the fall of human values ​​in society, and archetypal metaphor for the fate of a man’s material condition, explored through relationships and paternal branches from which themselves depend and are determined. The Bard recovers, probably from manuscripts of the time, and intertwines different stories, but in this sense coherent: the tale of King Lear and his daughters, the story of Gloucester and of legitimate and illegitimate children. Ours, of history, intertwined another story which is the background to the entire story, and comes from investigative hypothesis: why Shakespeare wrote King Lear? Shakespeare arrives in Naples,  the Viceroy of the Kingdom shall vacate the theater for one night, on condition that their child does not assists the performance.William instead falls in love with the son of the Viceroy, takes him to England, he takes it in his company, uses he for the female parts: Juliet, Ophelia, Desdemona.The plague arrived in London, Shakespeare gets sick, the young man strolling leaves England, his ship wrecked off the coast of the Gulf of Naples.The Viceroy meanwhile learned the trade undertaken by his son and promiscuity of his condition, it repudiates. The young man managed to escape from the wreck and hearing the news of the rejection of his father, rather than reveal, he prefers to be locked up in the mental hospital in the city. Here instructs the companions–crazy to the art of “truth in fiction“, building a city-state in which to welcome the survivors to the ruin of a society that does not recognize them anymore, those that do not conform to current values​​, seeking refuge misunderstanding, compassion, from pity, the survivors, guiding them towards “the art of fiction in truth“. The one and the other to recall and taunt the moral ruin of the institution in which they lived, through the metaphor of a story. A meta-theatrical dimension of which Shakespeare also comes to know and translates before his death, in the work of King Lear, in honor of its first actor.
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The buffoon, wretch and fool, for a long time present in the works of Shakespeare, and which in the King Lear disappears, rises here on condition of social status, class, populace: it represents the overcoming of the necessity of integration to all costs, of a conditioned acceptance. The “survivors”, normal people before the destruction of everything, are instead welcomed and accepted by the fool, althought  in their obvious diversity: the desire to still seek a contact, a relationship, a consideration by the current normal people, wanting to tell and make know what brought them to that condition; to warn those who now look at them as different … O’rre Liar tells the story of the unfortunate English king, through the figure of the early medieval narrators, the joculatores domini, or Jester of God  and the condition of the young crazy in the world (novellus pazzus in mundo), the Lord he did not want to give me any other wisdom than this, giving back to God the role of master, author, director of the universe, and to the madmen, the different, the misfits the possibility of “getting out of the text” conceiving his life, like that of Christ , a revolutionary performance. Recalling the theme of the censorship of diversity, mental illness, madness, by a power of normality, O’rre Liar leads back to the preludes of a theatrical definitively completed elsewhere (in a theater of the origins, ritual, evidently similar to the Greek tragedy ), a theatricality that as a non-text emphasizes in the work the centrality of the performative aspect. Thus affirming that the meanings of that theatrical form, far from representation, are incompatible with the values and behavioral models of existing power, even psychiatric power, giving themselves as trans-rational communication and with an institutional sense. A work of experimentation, research and improvisation with a strong symbolizing tension in a self-referential and entropic system, in which the precision, variation and invention continues to prefigure concretely a non-fixation of the productive and compositional modalities, with the aim of inducing an emotional reaction in the spectators and to complete an experience together.

“What times are those in which madmen lead blind people. “(Gloucester, act IV)
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King Lear by W. Shakespeare, O’rre Liar in Neapolitan, the story of the unfortunate English king, in our play, is told through the figure of medieval narrators, the joculatores domini or jesters of God, and the metaphor of the novellus pazzus in mundo (the Lord did not want to give me other wisdom than this), giving back to God the role of leader of a theatre company, author, director of the universe, and to the madmen, the different, the misfits the possibility of “getting out of the text” conceiving their life, like that of Christ, a revolutionary performance. Recalling the theme of the censorship of diversity, mental illness, madness, by a power of normality, historically endorsed by the coercive practices of a psychiatric orthodoxy, O’rre Liar leads back to the preludes of a completely final theatricality (in a theater of the origins, ritual, evidently similar to the Greek tragedy), a theatricality that as a non-text emphasizes in the work the centrality of the performative attitude. This work is dedicated to Antonin Artaud, and to those like him who still today suffer from the abuses of a psychiatry that does not consider them people, the damning practices of certain nurses, the collaboration of some psychologists, and the resignation of their families.
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