In the 20th century, dozens of Shakespeare festivals flourished across the United States and Canada, giving rise to a phenomenon that now accounts for hundreds of festivals in the two countries. By comparison with other European countries, we may also discover that some Italian experiences, such as Fabio Cavalli’s work in Rome’s Rebibbia prison, or Armando Punzo’s with the “Company of the Fortress” in Volterra are unique and that they should deserve more attention. A survey of Shakespeare theatrical practice in Italian prisons can help investigate and understand not only the aesthetic but also the political, social and economic consequences of the function of prison nowadays, and should be the first step towards an analysis of Shakespeare practice in Italian prisons in a broader context. The list includes different kinds of experiences ranging from drama therapy, where the process towards rehabilitation and reintegration is more important than the finished aesthetic product, to productions by theatre directors who are primarily concerned with the artistic medium of the theatre and its aesthetic qualities.

Undeniably, in Italy, productions of The Tempest in prison have deeply instilled new life in the staging of the Elizabethan playwright. Among the many Shakespearean plays, The Tempest is a favourite, being obviously able to shine a new light on those themes of revenge, freedom and forgiveness that are central issues in a detention context.

Shakespeare is a pivotal and much staged playwright among theatrical companies of convicts in Italy, even though the practice of theatre in prison in Italy has a much shorter tradition than in the Anglo-Saxon world.

Hag seed tempest