Last March, a well-known Tunisian critic wondered about the
motivations that had led Mohamed Driss, the head of the Tunisian
National Theatre and one of the greatest directors in the country, to
direct a Shakespeare play:
What is today the purpose of reproducing a Shakespearean tragedy,
when all over the world directors are desperately searching for new
creative ways, new means for attracting a public who is more and more
disinterested by the theatre?