SYNOPSIS
Hamlet receives a surprising news: he is not the son of his legitimate father (Olaf, the poisoned king), but of his uncle Halmar, the killer and usurper of the throne. Desolation and the wind are on Elsinor. Olaf's ghost instigates Hamlet, he asks revenge and tells him that his mother (Gerda) must also pay. This change of perspective with respect to Shakespeare marks the transition of the tragic theme of revenge to the topic, also tragic, of the search for one's own identity. The choir reveals the truth: ignorance gives way to knowledge, but with a very particular meaning. Now you know who it is: the fruit of the lie; son of two murderers. The whole plot turns here in direction: First Hamlet does not give create, then changes the perspective, helped by Laertes, adapts to accepting his destiny. Hamlet plunges into melancholy. With Ofelia the silent scene of color and the poetry, the love, the spring appears. The parable of the attempt of incest takes a more literary character than mythological in the scene where Gerda makes a private confidence to Poloño where he expresses his wishes to marry Hamlet.
Hamlet, as a character built by Cunqueiro, ... it seems to claim, from this moment on certain rights with respect to his creator and conquer autonomy. Hamlet as an actor must completely dominate the stage, giving the impression of having invented not only the staging and his performance, but also of having invented the text of the comedians of Italy. The representation of the pantomime goes through the plane of an essay chaired by Hamlet, with the kings as clandestine spectators, to the plane of the dramatic action, with the active intervention of the kings and the prince in it, all which precipitates the events in the foreground of the dramatic action. The end of the tragedy is confused with the development of the pantomime.
Making theater on the "human responsibility in a decaying world" is not easy. Especially when we live times of political, social and religious convulsion. Finding the truth is a difficult task. From our point of view, in addition to celebrating the centenary of the birth and the thirty anniversary of the passing of our extraordinary author, we believe that the issue is absolutely valid.
Sarabela Theater Bring us to this unique work by Álvaro Cunqueiro, O uncertain Mr. Hamlet, lyrical, intertextual and complex text that has implicit rhythm, musicality, writing of dreamy realism, with great technical successes, dramatic force and originality. An assembly with a new theatricality of evil, combined with the use of irony and playful procedures; in which the forces are balanced: love/death. Or Lord Hamlet, Prince of Denmark, establishes bridges between cultural traditions, following the European trend of myth theater, adapting to today's society.
The eight interpreters establish a dialogue in continuous poetic transformation (with a multitude of possible meanings), sometimes melancholy, retranqueira others, always powerful; They highlight the grotesque cruelty, pathtism and perplexity, humor ... so explicitly and with so many hazards through the intonation, expression and physical evocation that the lyrical language with which they speak clearly as they can only make it emerge actors and actresses that know how to combine Interpretive techniques in the wire of an aramium. The juxtaposition of the choir, comedians and the inhabitants of Elsinor is one of the most important factors of our proposal. It is about making the form through the contrasts clear; create a dynamic movement; a naked staging. A metaphorical space, Elsinor: recognizable beyond the seas. The characters play the simulation. "The court of Denmark is a theater where no one is the one that looks like." The most windy place in the world. A wind that comes from darkness, a scary wind, a threat. A symbolic space of corruption, lust and crimes. There are masks and unmask.
Among the signs that define our proposal is the scenery and light. A green cavern light does not communicate to the body the same sensual arrangement as the light of a windy day. With the light and the images we approach the sea. After the sound, creator of atmospheres, the light and the images, the contemporary action arrives, and the dynamism of the action: here the theater, "far from copying the life tries to communicate with the pure forces". Do not mimic, build from the imaginary.
“Can you a home, O same time, to be and non being? "Homes Son Precise, in the Oscuro, to do in the light one true home?"
"There are no other certainties with the guesses of poetry." Álvaro Cunqueiro.
Which play went beyond Hamlet?
Hamlet: Smart Auténtica Passion!
ARTIST SHEET
AUTHOR
Álvaro Cunqueiro
ADDRESS
Ángeles Cuña Bóveda
Steering assistants
Elisenda Renom e Nuria Gullón
LIST
Fernando Dacosta: HAMLET
Tito Asorey: Laertes/ Escaramuza
Nate Borrajo: Ofelia
Josito Porto: Poloño
Sabela Stuttering: Queen Gerda
Elena Seijo: DonA Britisha
fine street: Colombina
Alfredo Rodríguez: The Rei Halmar
All: Choir
PREMIERE DATE AND PLACE: September 23, 2010. Municipal Auditorium, Ourense.
DATASHEET
Scenography and lighting: Suso Diaz
Dressing room: David Rubin
Coordinación Vestiario: Ruth D. Pereira
Fulfillment: SANTOS SALGADO, Cloti Vaello e Elena Ferro
Makeup: Beatriz Paz
Masks: Sara Costa
Sound Space: Renata Coda Fons
Photograph: Mario Herradón
Graphic: David Rubín and Suso Díaz
Screenings: Suso Díaz, Diego B. Urbano
Body and Voice between: Elisenda Renom e Nuria Gullón
Light and Son Technicians: J. Manuel Bayón e Ruben Dobaño
Technical Responsible: David Varela
TECHNICAL CONDITIONS
Recommended space:
9 m. ancho
5 m. alto
8 m. background
Light power: 60000 W Son power: 1000 W Other needs: Three-phase with neutral at the foot of the stage
