Theseus, Hippolyta, Oberon, the craftsmen, Titania, Hermia, the fairies, Lysander, Helena, Puck, Demetrius.... A fantastic world that materialises in the mind of anyone who reads ‘The Dream’; one of the most visionary plays ever written. A world swirling with intrigues, strange surroundings and interwoven story lines that end up bewildering even the most attentive reader. Here we see the imaginative power of a Shakespeare who is cynical and scoffing, sly and humorous. Three small separate worlds, three levels of reality that change and cross each other like a puzzle woven into the plot. There is the mythological world of the court, the unreal and timeless world of the fairies, and the concrete world of the lovers, or the even less abstract one of the craftsmen. They offer the choreographer the opportunity to use different vocabularies of movement, to experiment and to make mutually compatible diverse techniques. This creates a more elemental dance that can be seen in the smallest detail of the choreography. It is not the pantomime element that interests us in this work, but the desire to have a true "mise en scène" of a text that stimulates and draws upon all of the elements of theatre. That strives to give direction to the action, that produces a feeling of alternating between order and chaos, reality and fantasy. The driving force for all of the above is desire. Relationships are seen as a type of game tied to a mysterious power that judges and controls; irrational and elusive desires that determine how we feel, that can deeply change the makeup of our world and create new harmonies and balance. This is as it is in that fairy inhabited forest, labyrinth like, in which lovers are lost, in which everybody, without realising it, have become simple pawns moved by an invisible hand and in which all the cards can be re-dealt at any moment.
Mauro Bigonzetti

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