Anyone who dares to cross the border of Ephesus, hazards his life.
They say this town is full of cozenage, As nimble jugglers that deceive the eye,
Dark-working sorcerers that change the mind, Soul-killing witches that deform the body, Disguised cheaters, prating mountebanks, And many suchlike liberties of sin.
If it prove so, I will be gone the sooner. (William Shakespeare, Comedy of Errors)
Anyone who dares to cross the border of Ephesus, hazards his life. If you do not have enough money to afford the bail, you will not escape from the town unharmed. The situation is not favorable for Antipholus and his servant, Dromio, who are looking for their twin brothers, who got lost years ago. Paradoxically, the more lost are they in the unknown town, the more are they deemed to be local residents. They are treated as honoured guests, invited to dinner, presented with gold. Yet, as the time flies, they are more and more torn and confounded. Are they still the same they thought they were? Or maybe they have never realized who they really are?
DROMIO Do you know me, sir? Am I Dromio? Am I your man? AmI myself?
The Shakespeare’s question concerning one’s own identity takes the form of the title comedy of errors. The confusion on the stage is growing minute by minute and the word plays offer
rather sophisticated form of entertainment. Nonetheless the stage provides space for reflection over the status of modern man – a citizen of the world. The well-known feeling of being lost in big cities often provokes the question about the impact of the surroundings upon the self-image. All in all we are constantly in quest of our place on earth. After all, building one’s own home anew is both an uneasy task and a fundamental human need. In the staging by Jean Philippe Salerio, creating one’s own haven is identified with finding not only the missing relatives, but also finding oneself in a new situation.