Thanks to Shakespeare we have retraced a turn of the wheel of power: we have witnessed a father who decides to leave the command to his daughters and a young man who manages to conquer him with cunning; but also to the flattery that defeats honesty, and to the new that repeats the mistakes of the old.

King Lear has become the drama of our generational conflict, of the power that flatters, pretends, tortures and dictates its own rules and rituals to anyone who approaches it; in it we reviewed our fathers and our rulers, who we could be and who, above all, we would not want to be.
But King Lear was also our political act, the attempt to deny our laziness and despondency on stage.