In "Much Ado About Nothing," Shakespeare dramatizes a very beloved theme of his, which is none other than love, culminating in a fundamental institution of the social structure such as marriage.

However, in this specific case, the road leading to the happy conclusion of the marital bonding of the two couples in the play is filled with much ado. The commotion is caused by the repeated and stubborn –perhaps even willful– refusal to accept the real feelings that the two main characters of the play, Benedick and Beatrice, have for each other, which leads them into a labyrinth of emotional repression, causing them to express themselves and manifest aggressive defenses, not so much to avoid hurting their pride and vanity, but to protect their sensitive hearts from the possible –as they believe– rejection of their love by the other.

The brilliant Shakespeare, with his pioneering writing, did not write this play as a simple comedy; he attempts to compose a daring alchemy, mixing in the right doses the comic with the tragic element, the high with the grotesque, the soul with the senses, much like Brecht does in his theatrical works.

Drawing from the conjunction of Shakespearean pre-alienation (Pre-Verfremdungseffekt), Brechtian alienation (Verfremdungseffekt), and postmodern post-alienation (Post-Verfremdungseffekt), our performance translates into a correspondence of “theater within a theater,” as a “play in play,” with expressionistic elements –to be precise, realistic-expressionistic, as paradoxical as that may sound– that is, using a postmodern way of rendering Brecht's Grand Style (Großes Stil).