DALLA PROFEZIA ALLA SCADENZA: L'EVOLUZIONE DELLA TEMPORALITA' NEL TEATRO DI SHAKESPEARE

Shakespearian theatre often presents a use of time which is undeniably modern and connected to new technologies, if we consider as modern the presence, in the Canon, of a realistic kind of temporality, marked by the rhythm of the clock, the revolutionary object that characterizes the new temporal model. Among the techniques that Shakespeare uses to manipulate the temporal element on a dramaturgical level, one seemed to be particularly innovative and relevant: deadline. The presence of this element in about one fourth of Shakespearean production could represent, if only from a quantitative perspective, an interesting fact, worthy of in-depth analysis. The imposition of a precise time limit, marked by the clock, was thought to be a testimony both of a new approach to temporality, and of the audience's familiarity with a new way to conceive time. The connection between deadline and a new conception of time was thought to better emerge by comparing it to another element, more representative of a traditional way of thinking: prophecy. Prophecy was considered as a sort of precedent for deadline, because of some formal aspects that they have in common; at the same time, however, the work focused on their differences, that occur on the temporal level, so much so that they almost become symbols of two cultural and theatrical traditions that are close, but fundamentally different.