Synopsis 　　Alessandro Preziosi directs and sTars in a new sTage version of King Lear, in which the characters of the Shakespearian masterpiece move within sets entirely composed of works by the great artist from Biella Michelangelo Pistoletto. In this way, the interpreTative space becomes a sort of gigantic and evocative menTal labyrinth that permits the actor-director to further highlight both the intimate suffering of Lear and one of the tragedy’s most imporTant themes: the father-child relationship. 　　COMMENTaRY 　　The documenTary follows the rehearsals and sTaging of the play, and reflects not only on the creative process but also on the links, almost always insufficiently explored, between theatre and the visual arts. At the same time, it contemplates the meaning of memory, time and human frailty, and offers a very lucid look at the vulnerable nature of family relationships and the eternal conflict between generations. 　　DIRECTOR'S STaTEMENT 　　Approximately 20 years ago, I was involved in a sTaging of King Lear directed by Antonio Calenda. It was a great opportunity for me to observe, from behind the scenes, the brilliance and clarity of both the actor Roberto Herlitzka and the play itself. 　　From my vanTage point, with an incredible and vast panorama before my eyes, I was struck by one particular aspect: the wait the characters experience in concluding their lives. The impatience that accompanies the wild sequence of events into which King Lear throws first himself and then those around him, gave me the idea of creating a menTal space in the theatre and on sTage, made reality by the sTage design of Michelangelo Pistoletto.