Entry into the Repertoire in 1985, in a production by Jean-Pierre Vincent for the Court of Honor at the Avignon Festival, this tragedy of the night continues to fascinate both by the density of its action, eminently bloodthirsty, and by the place given to the supernatural. The Italian director, whose creations have been very present in recent years on the theater and opera stages, is interested in the fate of General Macbeth to whom three witches predicted that he would accede to the throne. From then on, obsessed by the prophecy, he commits regicide with the help of his wife. The murder of Duncan, an upright and generous king, is followed by that of his friend Banquo, an embarrassing witness. The couple collapses under guilt and sinks into madness, as if the usurper king and Lady Macbeth – obsessed by his hands which she sees stained with blood – represented the same figure of human complexity. Since the announcement of the three fatal sisters in the opening scene ("The filthy is beautiful, the beautiful is filthy / Let's hover in the fog and in the miasma of the world"), the entire play is subject to a confusion of values which extends the intimate to the moral and political worlds: between good and evil, but also between reason and madness, reality and appearance, thirst for power and transgression, life and death, masculine and feminine... Silvia Costa imagines a metaphorical space, like an entrance in the labyrinth of the king's conscience. Macbeth, for whom “life is only a wandering ghost”, will discover himself while he learns his darkest impulses.