King John does whatever it takes to keep himself on the throne of England, making enemies of the pope, France, and his nephew along the way.

英国皇家莎士比亚剧团（Royal Shakespeare Company）2014年重排的历史剧，在莎士比亚故乡，同时也是RSC总部的Stratford-upon-Avon，皇家莎士比亚剧院（Royal Shakespeare Theatre）现场向英国和欧美的影院进行直播（RSC Live）。
英国皇家莎士比亚剧团从2013年起，陆续推出“王与国”（King and Country）系列话剧，重排莎士比亚最著名的四部历史剧：《理查二世》、《亨利四世（上）》、《亨利四世（下）》和《亨利五世》，藉由2016年纪念莎士比亚逝世400周年之际，将该系列的四部戏带到伦敦巴比肯中心，中国的北京、上海和香港，美国纽约百老汇进行巡演（由大卫·田纳特主演的《理查二世》未能赴中国巡演）。

Much Ado About Nothing contrasts the happiness of lovers Claudio and Hero, and the cynicism of sparring partners Beatrice and Benedick, who are united in their scorn for love.

老国王李尔打算退位后把国土一分为三，赠予女儿女婿们。但大女儿和二女儿的野心，外加李尔王的年老昏聩，把这变成了一场“爱的审判”，并把整个王国拖入悲剧的暴风雨之中。
首次登上莎士比亚环球剧院的美国导演南希·梅克勒打破了这部莎翁经典悲剧一贯的庄重气质，挖掘出其喜剧潜力。她在老国王逐步走向疯癫的过程中，捕捉到一种残酷的幽默，环球演员们街头艺人般的稚拙风格，也让观众有了放声大笑的机会，使得作品呈现出悲剧和喜剧体裁之间的流动与平衡。笑声与戏谑也激起了对于迷失和疯狂的怜悯，引发了更多关于人性堕落与崇高之间的思考。

Overture
George Frideric Handel: Alcina, HWV 34
Act I
1. "My Ariel" (Prospero, Ariel) – "Ah, if you would earn your freedom" (Prospero)
Antonio Vivaldi: Cessate, omai cessate, cantata, RV 684, "Ah, ch’infelice sempre"
2. "My master, generous master – I can conjure you fire" (Ariel)
Handel: Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a, Part I, "Un pensiero nemico di pace"
3. "Then what I desire" (Prospero, Ariel)
4. "There are times when the dark side – Maybe soon, maybe now" (Sycorax, Caliban)
Handel: Teseo, HWV 9, Act V, Scene 1, "Morirò, ma vendicata"
5. "The blood of a dragon – Stolen by treachery" (Caliban)
Handel: La Resurrezione, oratorio, HWV 47, Part I, Scene 1, "O voi, dell’Erebo"
6. "Miranda! My Miranda!" (Prospero, Miranda) – "I have no words for this feeling" (Miranda)
Handel: Notte placida e cheta, cantata, HWV 142, "Che non si dà"
7. "My master’s books" – "Take salt and stones" (Ariel)
Based on Jean-Philippe Rameau: Les fêtes d’Hébé, Deuxième entrée: La Musique, Scene 7, "Aimez, aimez d’une ardeur mutuelle"
8. Quartet: "Days of pleasure, nights of love" (Helena, Hermia, Demetrius, Lysander)
Handel: Semele, HWV 58, Act I, Scene 4, "Endless pleasure, endless love"
9. The Storm (chorus)
André Campra: Idoménée, Act II, Scene 1, "O Dieux! O justes Dieux!"
10. "I’ve done as you commanded" (Ariel, Prospero)
Handel: La Resurrezione, oratorio, HWV 47, "Di rabbia indarno freme"
11. "Oh, Helena, my Helen – You would have loved this island" (Demetrius)
Handel: La Resurrezione, oratorio, HWV 47, Part I, Scene 2, "Così la tortorella"
12. "Would that it could last forever – Wonderful, wonderful" (Miranda, Demetrius)
Handel: Ariodante, HWV 33, Act I, Scene 5, "Prendi, prendi"
13. "Why am I living?" (Helena)
Handel: Teseo, HWV 9, Act II, Scene 1, "Dolce riposo")
"The gods of good and evil – At last everything is prepared" (Sycorax)
Jean-Marie Leclair: Scylla et Glaucus, Act IV, Scene 4, "Et toi, dont les embrasements… Noires divinités"
14. "Mother, why not? – Mother, my blood is freezing" (Caliban)
Vivaldi: Il Farnace, RV 711, Act II, Scene 5 & 6, "Gelido in ogni vena"
15. "Help me out of this nightmare" – Quintet: "Wonderful, wonderful" (Helena, Sycorax, Caliban, Miranda, Demetrius)
Handel: Ariodante, HWV 33, Act I, Scene 5, recitative preceding "Prendi, prendi"
16. "Welcome Ferdinand – Wonderful, wonderful," reprise (Prospero, Miranda, Demetrius)
"All I’ve done is try to help you" (Prospero)
Vivaldi: Longe mala, umbrae, terrores, motet, RV 629, "Longe mala, umbrae, terrores"
17. "Curse you, Neptune" (Lysander)
Vivaldi: Griselda, RV 718, Act III, Scene 6, "Dopo un’orrida procella"
18. "Your bride, sir? "(Ariel, Lysander, Demetrius, Miranda) – Trio: "Away, away! You loathsome wretch, away!" (Miranda, Demetrius, Lysander)
Handel: Susanna, oratorio, HWV 66, Part II, "Away, ye tempt me both in vain"
19. "Two castaways – Arise! Arise, great Neptune" (Ariel)
Attr. Henry Purcell: The Tempest, or, The Enchanted Island, Z. 631, Act II, no. 3, "Arise, ye subterranean winds"
20. "This is convolvulus" (Helena, Caliban) – "If the air should hum with noises" (Caliban)
Handel: Deidamia, HWV 42, Act II, Scene 4, "Nel riposo e nel contento"
21. "Neptune the Great" (Chorus)
Handel: Four Coronation Anthems, HWV 258, "Zadok the priest"
22. Who dares to call me? (Neptune, Ariel)
Based on Handel: Tamerlano, HWV 18, "Oh, per me lieto"
"I’d forgotten that I was Lord" (Neptune, Chorus)
Rameau: Hippolyte et Aricie, Act II, Scene 3, "Qu’a server mon courroux"
23. "We like to wrestle destiny – Chaos, confusion" (Prospero)
Handel: Amadigi di Gaula, HWV 11, Act II, Scene 5, "Pena tiranna"
Act II
24. "My God, what’s this? – Where are you now?" (Hermia)
Handel: Hercules, oratorio, HWV 60, Act III, Scene 3, "Where shall I fly?"
25. "So sweet, laughing together – My strength is coming back to me" (Sycorax)
Vivaldi: Argippo, RV 697, Act I, Scene 1, "Se lento ancora il fulmine"
26. "Have you seen a young lady?" (Ariel, Demetrius, Helena, Caliban) – "A voice, a face, a figure half-remembered" (Helena)
Handel: Amadigi di Gaula, HWV 11, Act III, Scene 4, "Hanno penetrato i detti tuoi l’inferno"
27. "His name, she spoke his name" (Caliban)
Handel: Hercules, oratorio, HWV 60, Act III, Scene 2 "O Jove, what land is this? – I rage"
28. "Oh, my darling, my sister – Men are fickle" (Helena, Hermia)
Handel: Atalanta, HWV 35, Act II, Scene 3 – "Amarilli? – O dei!"
29. "I knew the spell" (Sycorax, Caliban) – "Hearts that love can all be broken" (Sycorax)
Giovanni Battista Ferrandini (attr. Handel): Il pianto di Maria, cantata, HWV 234, "Giunta l’ora fatal –Sventurati i miei sospiri"
30. "Such meager consolation – No, I’ll have no consolation" (Caliban)
Vivaldi: Bajazet, RV 703, Act III, Scene 7, "Verrò, crudel spietato"
31. Masque of the Wealth of all the World
a. Quartet: Caliban goes into his dream, "Wealth and love can be thine"
Rameau: Les Indes galantes, Act III, Scene 7, "Tendre amour"
b. Parade
Rameau: Les fêtes d’Hébé, Troisième entrée: Les Dances, Scene 7, Tambourin en rondeau
c. The Women and the Unicorn
Rameau: Les fêtes d’Hébé, Troisième entrée: Les Dances, Scene 7, Musette
d. The Animals
Jean-Féry Rebel: Les Éléments, Act I, Tambourins I & II
e. The Freaks – Chaos
Rameau: Hippolyte et Aricie, Act I, Tonnerre
f. Waking
Rameau: Les Indes galantes, Act III, Scene 7, "Tendre amour," reprise
[there is no No. 32]
33. "With no sail and no rudder – Gliding onwards" (Ferdinand)
Handel: Amadigi di Gaula, HWV 11, Act II, Scene 1, "Io ramingo – Sussurrate, onde vezzose"
34. Sextet: "Follow hither, thither, follow me" (Ariel, Miranda, Helena, Hermia, Demetrius, Lysander)
Handel: Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a, Part II, Quartet: "Voglio tempo"
35. "Sleep now" (Ariel)
Vivaldi: Tito Manlio, RV 78, Act III, Scene 1, "Sonno, se pur sei sonno"
36. "Darling, it’s you at last" (Hermia, Lysander, Demetrius, Helena)
Vivaldi: La verità in cimento, RV 739, Act II, scene 9, "Anima mia, mio ben"
37. "The wat’ry God has heard the island’s pleas" (Chorus)
Handel: Susanna, oratorio, HWV 66, Part III, "Impartial Heav’n!"
38. "Sir, honored sir – I have dreamed you" (Ferdinand, Miranda)
Handel: Tanti strali al sen mi scocchi, cantata, HWV 197, "Ma se l’alma sempre geme"
39. "The time has come. The time is now" ("Maybe soon, maybe now," reprise) (Sycorax)
Handel: Teseo, HWV 9, Act V, Scene 1, "Morirò, ma vendicata"
40. "Enough! How dare you?" (Prospero, Neptune) – "You stand there proud and free – You have stolen the land" (Neptune)
Rameau: Castor et Pollux, Act V, Scene 1, "Castor revoit le jour"
41. "Lady, this island is yours" (Prospero, Caliban, Ariel) – "Forgive me, please forgive me" (Prospero)
Handel: Partenope, HWV 27, Act III, Scene 4, "Ch’io parta?"
42. "We gods who watch the ways of man" (Neptune, Sycorax, Chorus)
Handel: L’allegro, il Penseroso, ed il Moderato, HWV 55, Part I, "Come, but keep thy wonted state – Join with thee"
43. "This my hope for the future" (Prospero) – "Can you feel the heavens are reeling" (Ariel)
Vivaldi: Griselda, RV 718, Act II, scene 2, "Agitata da due venti"
44. "Now a bright new day is dawning" (Ensemble)
Handel: Judas Maccabaeus, oratorio, HWV 63, Part III, "Hallelujah"

法语音乐剧《罗密欧与朱莉叶》Roméo et Juliette的作曲是Gérard Presgurvic，他在大学是主修电影，二十四岁那年，父亲送他一架钢琴，这激发了他对音乐的喜爱，他决定转行。在纽约旅行期间他遇见法国年轻歌手Patrick Bruel，两人一见如故。回到法国后他开始作曲，不但扑出了法国第一首饶舌的歌曲，并帮Bruel的第一张专辑所有的歌曲，已超过一百万的销售数字大获成功。后来，他又开始了电影配乐的工作，帮很多著名的电影谱写音乐，其中包括法国大导演Claude Lelouch的作品。1998年，他遇见了Gérard Louvin和Daniel Moyne这两个著名的法国电视制作人，彼此相见恨晚，决定一起把《Romeo and Juliet》搬上音乐剧的舞台，而不让Boubil与Schonberg的《Les Misérables》和Plamondon与Cocciante的《Notre-Dame de Paris》一直站在法语音乐剧的前列。在他们的构想中，这部剧的音乐采用古典兼现代的风格，不仅有优雅的管弦乐，还有电子合成音乐的danse d'industrie（工业舞曲）元素。
男主角Remeo的扮演者：Damien Sargue
在剧本与歌曲大致选定后，他们开始物色演员与歌手了。虽然成名的大牌也许会具有票房的号召力，但是他们为了符合莎翁原著中Romeo和Juliet都是未满十八岁的描述，决定开始公开选新人。最后入选担任Romeo的是Damien Sargue，他有着清纯俊秀的外表，八岁开始接受歌唱训练，90年代初，他在法国电视台的歌唱新人比赛中脱颖而出，一连获得6次优胜，唱片公司还特别为他录制了单曲，而当时他才10岁。由于父母希望他以学业为重，所以他并没有立即进入演艺界，一直到1998年才开始职业表演，在《Notre-Dame de Paris》中担任候补演员，在Gringoire或Phoebus休假的时候上场顶替。后来便获得Romｅo的角色。
女主角Juliet的扮演者：Cécilia Cara
而来自Cannes的Cécilia Cara和Juliette一样，也是十五岁，而且还是初中生。她从三岁开始学芭蕾，五岁又开始学习唱歌，很快就显示出她惊人的演艺才华，经过多次歌唱比赛和戏剧演出后，她的技巧更成熟，更自信。在一次电视才艺大赛的五百名选手中，她只得第四名，但突出的外形和条件让节目的制作人特别欣赏，于是向《Roméo et Juliette》的制作人推荐,立刻就获得了Juliette的角色。
其他演员 ------
跟一般音乐剧往往把所有重心都集中在男女主角身上不同，这部剧除了Roméo与Juliette，其他的许多角色如双方的母亲，Juliette的奶妈La Nurse, Tybalt, Mercutio, Le Prince, Paris等等也都有很多重要的歌曲和戏份，而Benvolio还兼任Conteur(故事叙述者)的角色，因此这些演员在精心挑选下，都有着非常高的演出水准，无论是歌声还是演技，都是非常不错的。而出演Benvolio的Grｅgori Baquet出身于演艺家庭，父亲是著名短片导演和舞台演员，所以他也是从小就接近演艺圈，在电视界相当活跃，也因而认识了《Roméo et Juliette》的两个制作人，获得演出机会。
影 响 ----------
2000年2月14日，《Roméo et Juliette》在巴黎首演，立刻轰动了全法国，被许多专家和观众推举为有史以来最杰出的音乐剧，不但风靡法国，许多不懂法语的人也纷纷爱上了这部音乐剧，事实上，由于这个故事内容早已家喻户晓，就算听不懂法语，欣赏起来也不会有多大的障碍。可惜由于某些未知因素，这部音乐剧还没有在国际上演出，也没能改编成英文版本而进入Broadway，从而打开更高知名度！
这部音乐剧非常讲究舞蹈，那些danseurs和danseuses不但个个有着深厚的芭蕾根基，而且也有些特技的，跟音乐搭配简直就是天衣无缝，甚至还不时出现凌空翻越的高难度动作，要比《Notre-Dame de Paris》还要精彩。当他们舞蹈时，音乐是用相当现代化的电子舞曲，也不会让人感到任何的不自在。在电子舞曲结束之后，接着出现的又往往是非常典雅的古典音乐，就这样来回穿梭于古今间的音乐似乎是一体的，所以说这部音乐剧一开始就在视觉和听觉上带来了强烈的震撼。

已故的羅蘭爵士有三個兒子，大兒子阿立夫沒有按照父親的遺囑好好的照顧小兒子歐蘭得，于是歐蘭得準備拿著屬于自己的遺產離開哥哥，阿立夫為了不讓歐蘭得得到遺產，安排他和大公爵的武士卡而斯比武。大公爵被自己的弟弟取代了爵位，他的女兒羅斯蘭卻因為和新公爵弗得利克的女兒西利亞要好而留了下來。羅斯蘭和西利亞去觀看了比武，勝利的歐蘭得愛上了羅斯蘭，羅斯蘭也對他抱有好感。弗得利克放逐了羅斯蘭，西利亞決定和她一起走，她們帶著小丑試金石去亞敦森林投奔被放逐的大公爵。
在森林裡，羅斯蘭和歐蘭得相遇並且相愛了。阿立夫被弗得利克拿去了所有的田產，也來到了森林，大公爵收留了他，他和自己的弟弟冰釋前嫌並且和西利亞相愛。最後阿立夫拿回了自己的田產，歐蘭得繼承了大公爵的爵位和財產，故事有了皆大歡喜的結局。

已故的羅蘭爵士有三個兒子，大兒子阿立夫沒有按照父親的遺囑好好的照顧小兒子歐蘭得，于是歐蘭得準備拿著屬于自己的遺產離開哥哥，阿立夫為了不讓歐蘭得得到遺產，安排他和大公爵的武士卡而斯比武。大公爵被自己的弟弟取代了爵位，他的女兒羅斯蘭卻因為和新公爵弗得利克的女兒西利亞要好而留了下來。羅斯蘭和西利亞去觀看了比武，勝利的歐蘭得愛上了羅斯蘭，羅斯蘭也對他抱有好感。弗得利克放逐了羅斯蘭，西利亞決定和她一起走，她們帶著小丑試金石去亞敦森林投奔被放逐的大公爵。
在森林裡，羅斯蘭和歐蘭得相遇並且相愛了。阿立夫被弗得利克拿去了所有的田產，也來到了森林，大公爵收留了他，他和自己的弟弟冰釋前嫌並且和西利亞相愛。最後阿立夫拿回了自己的田產，歐蘭得繼承了大公爵的爵位和財產，故事有了皆大歡喜的結局。

King. The male ruler of an independent state; one who inherits the position by right of birth.

King of the castle. A children’s game in which each child attempts to stand alone on a mound, or sandcastle, by pushing other children off it.

Olivier Award-winner Simon Russell Beale takes the title role in Shakespeare’s play about the limits of power.

King Richard II is arrogant, reckless and vain. His weak leadership sends his kingdom into disarray and his court into uproar. Disinherited and exiled from the kingdom, the ambitious Bolingbroke challenges the throne and the king’s divine right to rule.

罗马大将军泰特斯•安德洛尼克斯征战哥特人十年凯旋而归，并俘虏了哥特人皇后塔摩拉及她的儿子们。泰特斯把塔摩拉的长子当作祭品以慰他在战事中死去的十多位儿子。塔摩拉苦苦哀求却无法求得泰特斯的慈悲。自此，她对泰特斯恨之入骨。命运难料，罗马帝王取塔摩拉为后，得势的塔摩拉在嬖奴阿伦的帮助下，开始了对泰特斯的血腥报复。这出被称为莎士比亚最血腥的复仇悲剧，为我们呈现了以侮辱残杀为乐的人们，带给我们关于性、家族和社会的本质思考。
英国《旗帜晚报》为《泰特斯•安德洛尼克斯》打出了五星好评：“尖锐、自信、充满想象力的现代版解读”，女导演布兰奇•麦金泰尔对当下世界将何去何从做出了自己的注解；《泰晤士报》则称赞大卫•特劳顿的表演“非常完美，这出黑色戏剧你永不会忘记”。

Es gibt wohl kaum einen Theatertext, über den so viel geschrieben und gerätselt wurde wie Hamlet. In der Tragödie vom Prinzen, der sein Auslandssemester nur kurz wegen der Beerdigung seines Vaters unterbrechen will, aber in einen Strudel aus Gewalt, Korruption und Täuschung gerät und zum Mörder wird, geht es um Religion, Tod, Philosophie, Schuld, kurz um »Sein oder Nichtsein«. Eine Nummer zu groß fürs kleine Gorki also? Christian Weise zeigt die Containervariante von Hamlet als ein Stück über das schief vereinigte Deutschland, die komödiantische Hinterseite eines übergewaltigen Stoffs, der am Ende vielleicht doch nur die Geschichte zweier ungleicher Familien ist, die zusammen leben, aber nicht zusammenkommen können.

The Comedy of Errors is a musical with a book and lyrics by Trevor Nunn and music by Guy Woolfenden. It is based on the William Shakespeare play, The Comedy of Errors, which had previously been adapted for the musical stage as The Boys from Syracuse by Richard Rodgers, Lorenz Hart and George Abbott in 1938. The London production won the Olivier Award for Best New Musical in 1977.

Macbett (1972) is Eugène Ionesco's satire on Shakespeare's Macbeth.

Two generals, Macbett and Banco, put down a rebellion. In payment for their heroic service, Archduke Duncan promises to bestow on them land, titles and cash, but he reneges on the deal. Encouraged by the seductive Lady Duncan, Macbett plots to assassinate the Archduke and crown himself King. He tries to maintain his tenuous grip on the throne through a vicious cycle of murder and bloodshed. Meanwhile, he is haunted by the ghosts of his victims and discovers that his new wife is not all that she seems.

Written during the Cold War, Ionesco's Macbett remoulds Shakespeare's Macbeth into a comic tale of ambition, corruption, cowardice and excess, creating a tragic farce which takes human folly to its wildest extremes. Innovations include a long conversation between the thanes of Glamiss and Candor, the characters a lemonade seller and butterfly hunter, and the revelation that the rightful heir to the throne is a worse tyrant than Macbett ever was.

Prior to the first act, an induction frames the play as a "kind of history" played in front of a befuddled drunkard named Christopher Sly who is tricked into believing that he is a lord.
In the play performed for Sly, the "Shrew" is Katherina Minola, the eldest daughter of Baptista Minola, a lord in Padua. Katherina's temper is notorious and it is thought no man would ever wish to marry her. On the other hand, two men – Hortensio and Gremio – are eager to marry her younger sister Bianca. However, Baptista has sworn not to allow his younger daughter to marry before Katherina is wed, much to the despair of her suitors, who agree that they will work together to marry off Katherina so that they will be free to compete for Bianca.
The plot becomes more complex when Lucentio, who has recently come to Padua to attend university, sees Bianca and instantly falls in love with her. Lucentio overhears Baptista announce that he is on the lookout for tutors for his daughters, so he has his servant Tranio pretend to be him while he disguises himself as a Latin tutor named Cambio, so that he can woo Bianca behind Baptista's back.
In the meantime, Petruchio arrives in Padua, accompanied by his servant, Grumio. Petruchio tells his old friend Hortensio that he has set out to enjoy life after the death of his father and that his main goal is to wed. Hearing this, Hortensio seizes the opportunity to recruit Petruchio as a suitor for Katherina. He also has Petruchio present to Baptista a music tutor named Litio (Hortensio himself in disguise). Thus, Lucentio and Hortensio, pretending to be the teachers Cambio and Litio, attempt to woo Bianca unbeknownst to her father, and to one another.
Petruchio, to counter Katherina's shrewish nature, woos her with reverse psychology, pretending that every harsh thing she says or does is kind and gentle. Katherina allows herself to become engaged to Petruchio, and they are married in a farcical ceremony during which (amongst other things) he strikes the priest and drinks the communion wine, and then takes her home against her will. Once they are gone, Gremio and Tranio (disguised as Lucentio) formally bid for Bianca, with Tranio easily outbidding Gremio. However, in his zeal to win, he promises much more than the real Lucentio actually possesses, and Baptista determines that once Lucentio's father confirms the dowry, Bianca and Tranio can marry. Tranio thus decides that they will need someone to pretend to be Vincentio, Lucentio's father, at some point in the near future. Elsewhere, as part of their scheme, Tranio persuades Hortensio that Bianca is not worthy of his attentions, thus removing any problems he may cause.
Meanwhile, in Petruchio's house, he begins the "taming" of his new wife. She is refused food and clothing because nothing – according to Petruchio – is good enough for her; he claims perfectly cooked meat is overcooked, a beautiful dress doesn't fit right, and a stylish hat is not fashionable. He also sets about disagreeing with everything she says, and forcing her to agree with everything he says, no matter how absurd; on their way back to Padua to attend Bianca's wedding, she agrees with Petruchio that the sun is the moon, and proclaims that "if you please to call it a rush-candle,/Henceforth I vow it shall be so for me" (4.5.14–15). Along the way, they meet Vincentio who is also on his way to Padua, and Katherina agrees with Petruchio when he declares that Vincentio is a woman and then apologises to Vincentio when Petruchio tells her he is a man.
Meanwhile, back in Padua, Lucentio and Tranio convince a passing pedant to pretend to be Vincentio and confirm the dowry for Bianca. The man does so, and Baptista is happy for Bianca to wed Lucentio (actually Tranio in disguise). Bianca then secretly elopes with the real Lucentio. However, Vincentio arrives in Padua, and encounters the Pedant, who claims to be Lucentio's father. Tranio (still disguised as Lucentio) appears, and the Pedant acknowledges him to be his son Lucentio. There is much confusion about identities, and the real Vincentio is set to be arrested when the real Lucentio appears with his newly betrothed Bianca, and reveals all to a bewildered Baptista and Vincentio. Lucentio explains everything that has happened and all is forgiven by the two fathers.
Meanwhile, Hortensio has married a rich widow, and so in the final scene of the play there are three newly married couples at Baptista's banquet; Bianca and Lucentio, the widow and Hortensio, and Katherina and Petruchio. Because of the general opinion that Petruchio is married to a shrew, a quarrel breaks out about whose wife is the most obedient. Petruchio proposes a wager whereby each will send a servant to call for their wives, and whichever comes most obediently will have won the wager for her husband. Katherina is the only one of the three who comes, winning the wager for Petruchio. At the end of the play, after the other two wives have been hauled into the room by Katherina, she gives a speech on the subject of why wives should always obey their husbands and the play ends with Baptista, Hortensio and Lucentio marvelling at how successfully Petruchio has tamed the shrew.

Two lovers who come from hostile families and whose love must fail because of the hostile environment. Jette Steckel approaches the "greatest love story of all time" from three sides: theatrically, musically with music by Anja Plaschg ("Soap & Skin") and Anton Spielmann ("1000 Robota") - sung and played by Friederike Bernhardt and Jan Plewka - and physically with a "mass movement" of 40 young people from Hamburg.

The framework for action sounds like a flat colportage: two lovers, who come from hostile families and are driven to suicide shortly after the wedding night by bad circumstances, bad coincidences and fantastic rescue operations. But the effect of the piece is limitless to this day. What Shakespeare made of the material is something like the nucleus of all romantic love stories, patterns and standards in art and in life. Til today.

The great, all-bursting love proves to be ready to die for love. It doesn't fail because of the hostile environment - it needs it. It's not about the good game, but about love, which has no chance and is therefore essential. This love resembles the mystical experience of the divine, the absolute. Lovers must die in the theater and in the opera. But their love lasts forever. - This is hardly possible in real life, where “amour fou” dies instead of lovers.

In the 7th year of the Trojan War, Troilus, a young prince, pines for the affections of Cressida, a bright young woman who knows how to play it cool. Meanwhile, the heroes of the Iliad – Hector, Paris, and the kings they serve - debate whether to return the dangerously beautiful captive Helen or continue to fight without end. Nations and lovers alike do battle in this funny, piercing drama about romance and revenge in a world at war.

По пьесе «Сон в летнюю ночь»
В спектакле звучат тексты Ф.М.Достоевского, Л.Н.Толстого, Х.Кортасара
Переводы пьесы М.Лозинского, О.Сороки, Н.Сатина, П.Каншина. Сценический вариант театра