Cláudia Jardim and Diogo Bento are two of the artists responsible for creating Hamlet Sou Eu (2007), Romeo and Juliet (2017) and Macbad (2021), a trilogy dedicated to three Shakespearean tragedies full of death, murder, blood and revenge, which bring together a universe of bloodthirsty fatality that is usually far removed from younger audiences. They are also three works built on three classics of Western dramaturgy considered untouchable and calcified by academic studies and by the scenic approaches that have been presented over time.

One of the main challenges that has always guided them has been to make these texts accessible to young audiences. How do you arouse interest in works that are over 400 years old? Are the so-called classics timeless? What to do with the divergence of the zeitgeist? Do these narratives still make sense today? These were some of the questions they faced and tried to answer with the creation of the three shows.

It is precisely on the basis of these questions and the confrontation between the shows and the public that they propose to talk about, problematise and structure some conclusions based on their experience. For lovers of the classics, for sceptics steeped in post-modernity, but above all, for anyone who swings between the two extremes and who is interested in new approaches to the canon, wants to share doubts, develop theses, come up with some ideas and refute them in order to start everything all over again.

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