Name: Lady Shakespeare
Start: 2026-11-24T11:30:00
Location: Teatro Libero

Davide Lorenzo Palla

Teatro Libero

The Fridge is one of the most whirlwind plays by the great Franco-Argentine playwright Copi, famous for his Seated Woman comics. Here, his themes and obsessions are concentrated, beginning with the indefinite gender, against the backdrop of the loneliness of a woman locked at home, who entertains her phobias and anxieties by imagining absurd and threatening characters who come to visit her.

The Fridge

Life Theaters

Fascination with the theater. Pirandello is first and foremost a man fascinated by the theater, by the interplay of fiction and reality, and vice versa. The theater, that magic box, the little universe where something artificial happens in the attempt to represent life.

Stepdaughter – Almost True

On stage, a lonely woman and a void, an emptiness that cannot be filled; a hole that is a wound, a space of memories, of apparitions, and of questions.

A Kind Of Prayer

Miranda is a little girl growing up in a circus tent in the middle of an island, under the loving gaze of her father, Prospero, and in the company of her friend, Caliban, the clown. Within this magical circle, time passes between balancing acts, acrobatics, and melodious songs from the four corners of the world, but at a certain point, Miranda feels the desire to truly travel, to discover the cities she's always heard about, to meet new people. When the lights are out, Miranda, now a young woman, secretly sews a dress of her own, and in the folds of the fabric she places a new image of herself, freer, more suited to her desires. How can she communicate this to Prospero? The actor who has graced the boards of the most important theaters, the loving father who has built a world around her? Dark clouds gather on the horizon, heralding a storm. The wind will blow against the curtain to make his characters more real, to wash the greasepaint from their faces and allow Prospero to finally confide his secret, the mysterious story that led them to the island, and Miranda to realize her deepest desire.

Miranda Circus

Two actresses introduce themselves to the audience and pose a question as absurd as it is theatrical: "What if William Shakespeare had been a woman?"

Lady Shakespeare

Little Iliad – Football Diary of '97/'98 is a coming-of-age drama that intertwines personal memories, myth, and sporting passion. A woman returns to her childhood home, now empty and ready to be sold. Among old cassettes, diaries, and forgotten objects, the memory of a pivotal year resurfaces: the 1997/1998 football season, Ronaldo's arrival at Inter, and the anticipation of a happiness that seemed possible.

LITTLE ILIAD Football Diary 1997/1998

The older a tradition, the more untouchable it seems. But if there's one thing tradition has done, since the dawn of time, it's nourished by all the voices that pass through it.

Pitrè Over Time

The play highlights the absurdity of a life in which even death and a casual murder can lead to a sense of being and feeling. In a courtroom, Algerians in keftas lead Meursault to relive the pivotal moments of the story: his mother's funeral, his relationship with Maria, his friendship with Raimondo, the crime, the trial, and the impending guillotine. The play shows the upheaval of his life over the course of four days, leading up to his death. Mersault ends up on the guillotine for shooting an Arab on the beach who was threatening him with a knife. What determines the judge's conviction, however, is not this incident, but Meursault's perceived cold and indifferent attitude toward his mother's death. The stage retraces the trial and conviction of the employee, who slowly takes control of himself and, in the name of truth, arrives at the nonconformism that makes him a "foreigner" to the world, a victim of the human condition.

The Stranger

Akròama T.L.S.

Never enough , the fourth original production by the E1NZ Company, is a circus-theater show dedicated to balance. Using everyday materials—wooden sticks, ropes, rolls, and red Milets—the duo creates a poetic acrobatics in which stability and movement are continually reinvented. The wooden sticks create fragile balances or are manipulated and launched into the air. The Milets change shape and function, expanding the stage space, both on the ground and in the air, and providing a fertile ground for dynamic scenes. At the same time, the show stages a subtle interplay between two performers who communicate without words, challenging each other, losing and regaining balance, effortlessly shifting from tension to lightness—thus making tangible that never enough that gives the piece its title. Never enough does not provide an answer to the question of when "enough" is, but leaves room for personal interpretations by those who wish to reflect on what they have seen or simply to let go of the present moment. Sixty minutes of thought-provoking, moving, and surprising scenes reverberate far beyond the theater, accompanied by Heidi Happy's original music.

Never Enough

In a motel room, Jon, an aspiring filmmaker with ideals, meets his old friend Vince, a neurotic and alcoholic firefighter. The two haven't seen each other since high school. Between jokes and provocations, the conversation takes a turn for the worse: Vince harps on about a past episode in which Jon allegedly had an ambiguous sexual relationship with Amy, Vince's then-girlfriend.

TAPE The Recording

Belle Toaste is a show inspired by the story " The Butter Battle " by Dr. Seuss, one of the most brilliant children's authors of the twentieth century. Here, butter becomes a playful metaphor and an ingenious excuse to tell children, and not only them, about the frightening reality of war between peoples. The show begins from this, placing a large and seemingly insurmountable wall at the center of the stage, like a cumbersome protagonist meant to symbolize all the boundaries, concrete and otherwise, that humans place on the earth to delineate their space, distance their neighbors, and demarcate their lands.

Beautiful Toasts

Tridicino is a boat journey across the Sicilian sea, on the waves and into the depths of the Camillerian sea. A tale of mythological inspiration, rich in emotion, with hints of irony, melancholy, and references to a world now almost extinct, yet still alive in the tradition of the "Cunto." This tale recalls the beaches of Western Liguria in the early 19th century—the period in which the play is set—when they were still relatively untouched and brimming with flora and fauna, and when the first signs of tourism were evident on the Ligurian coast. Furthermore, the eighteen instruments played by ethnomusicologist Roberto Catalano evocatively evoke the sounds of water, sea, and shells, in a still-direct connection with unspoiled nature and the entire fairytale world that emanates from the sea. It harks back to marine legends and myths, also evoking dramatic episodes such as the arrival of the waterspout and the resulting threat to the tightly knit community of fishermen. The ways and forms of the tradition of songs linked to the sea are similar between the Liguria of the past and the Sicily of the past.