Translated into italian, directed and performed by
Stage direction in co-operation with
ADÈLE FRANTZ and CHLOÉ LATOUR
Costume and props
Play in italian
Production Compagnie Avanti, Compagnie Canopée,
Ville de Nanterre, Teatro Manhattan
Hamlet is alone on stage. He's haunted.
I actually take very seriously the appearance of his fathers' ghost. What if Hamlet was surrounded by ghosts? What if Hamlet wasn't really able to draw the line between reality and imagination? The danish prince can't trust anybody, not even his own eyes, his own ears.
That's what his famous doubt is about: am I living in the real world? How can I have an impact on this world if my reality is so unstable? What kind of voices should I listen to? My conscience is too loud, too noisy.
Hamlet's tragedy is existential, political. His struggle and his weakness are our own: our fathers left to us a crumbling empire, that we couldn't manage to rebuild because we missed a clear plan, a pattern of thought. We are still hesitating, and we historically failed to take the place of our parenthood.
The soundscape is an essential and central element of this production. Like a river flowing, the sound proceeds and drives Hamlet throughout the scenes, until the end. The show is conceived as a jubilation of words, music, sound effects. The goal is not to impress the audience with technicalities, but to stimulate their ears. To envelop them in a sonic pool, in the inner world of Hamlet, and leave the rest free to be imagined.