Lenz's theatrical language is based on an extreme and radical fidelity to the word of the text. In the search for the heroic state of the actor, theatre takes shape in the oscillation between weakness and strength, vulnerability and power of the speaking body.
In a long cycle of research dedicated to Shakespearean dramaturgy, Lenz has created the sets of numerous monument works: Romeo and Juliet, A Midsummer Night's Dream, Richard II, Ur-Hamlet, Hamlet, Macbeth, King Lear, Shakespears Geist, a monologue by the German playwright Jakob Lenz inspired by the great stage actor David Garrick. Romeo and Juliet Concert is part of a complex project by the Lenz Foundation dedicated to William Shakespeare, conceived on the occasion of the anniversary of his four hundredth death.
The extreme state of feeling, the passion that moves and pushes towards death, the tragic killing of the hero, the condition of dreams and reality, the mystery of the human condition, are generated by the act of speaking, the full body of the voice. The mythical boundary of Shakespeare's works is marked by two fundamental lines: the original language and the rebirth of the word in the actor's body. The foreign but not alien sound of the English language of the late sixteenth century, passing through the actor's exiled body, can once again sing the verse of nostalgia in the truth of the scene.
A polyphonic bridge between ancient and modern, between general and particular, Shakespeare's language is a powerful echo of the art of theatre in contemporary times and in the renewal of language. Poetry, dramaturgy, direction, the work of the actor –between the twentieth and twenty-first centuries – once again to seek together the conditions of birth, revelation, existence and non-existence, the enigma and impossibility of representation.
