Carmelo Bene’s theatrical performances of classics such as Shakespeare were aimed at deconstructing these well-known texts in order to dismantle the straightjacket of their eternal, unchanging quality. This procedure allowed Bene to provide new ‘readings’ of Shakespeare as well as unexpected associations with the works of other poets and playwrights. In the case of his film version of Othello (1979), Bene seems to accentuate a surprising cannibalistic undercurrent in the original, through textual, visual and oral emphases and small but significant translational changes. Bene’s performance of Othello is interestingly echoed by his rendition of Canto XXXIII of Dante’s Inferno (1981). His cannibalistic reinterpretation (in form as well as in content, which means that he singles out possible clues to cannibalism in both cases and he does so by ‘cannibalizing’ the texts) of the tales of Othello and Ugolino suggests surprising parallels between these characters and their respective destinies.

中文翻译：

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Carmelo Bene 对但丁和莎士比亚的蚕食

Carmelo Bene对莎士比亚等经典作品的戏剧表演旨在解构这些众所周知的文本，以拆除其永恒不变的品质。这个程序使贝内能够提供莎士比亚的新“读物”，以及与其他诗人和剧作家的作品的意想不到的联系。在他的电影版奥赛罗 (1979) 中，贝内似乎通过文本、视觉和口头强调以及微小但重要的翻译变化，突出了原著中令人惊讶的自相残杀的暗流。Bene 对《奥赛罗》的表演有趣地与他对但丁的《地狱》（1981）的 Canto XXXIII 的演绎相呼应。他的同类相食重新解释（在形式和内容上，