Hamlet: Man of the era of degeneration (SPb, MDT). Lion Dodin
For the hundreds of years, Shakespeare's Hamlet is considered, of course, one of the greatest works of world literature. And Hamlet himself became the name of the nominal, embodiment, first of all the ideals of humanism. Hamlet equals a humanist. Hamletism is equally humanism. One of the mysteries of this great story is that the Great Humanist kills in the course of action, drives you crazy and the final "puts" almost all the main characters and together with them itself. True, he does this, constantly thinking: can I kill if you need to kill whether it is possible to revenge whether to revenge how to take revenge so that it is really vengeful; Just kill or kill this way - as the prince is a believer - so that the murdered accurately fell into hell, and not to heaven. Since Hamlet makes what he committed, the result of all his reflection is the excuse of hatred, revenge, murder, and at the heart of all this (as the prince itself unexpectedly pronods) is the desire of power.
Maybe in its historical optimism, we misunderstood something and overestimated the humanism of the Renaissance, just as they overestimated the humanism of antiquity - his, actually, the era of the Renaissance and revived. Maybe the rebirth itself - such an infectiously beautiful, chanting the power of a person who created the samples of the highest art, the highest culture (all this hand in hand with severe territorial seizures, robbees and continuous bloodshed) - maybe a great revival is, including, and One of the heights of intellectual and spiritual enrichment of the ancient barbaric principles of revenge, hatred, murder, destruction. Maybe all the development of humanity, which we all proud - it is also barbarism; Continuously intelligently enriched, intellectually and spiritually justified barbarism. And maybe all the progress that we admire this is the intellectualization of the lower human instincts, which led us today, where we are all, humanity, and are.
The boom turned into a rocket, the dart turned into a supersonic fighter, the iron shield of the medieval warrior turned into an impregnable armored person, now existing in the will, but without the participation of the person himself. By destroying thousands, a person gained the ability to not risk at the same time, although personal risk continues to die in the same way as he mounted in ancient barbaric legends.
The desire of any price to restore the so-called justice - freedom-loving, liberation, selfless - turned into personal terrorism against individual bad people, then into collective terrorism against individual bad teams, human groups, nations - and, finally, became massive terrorism against those who are not discouraged by any national, ideological, religious borders of whole masses of humanity.
Yesterday, the future heroes were dreaming about the fasteners destroyed before the ashes; Now the future heroes are cut about nuclear ash, in which you can and need to turn whole countries, continents, and - in the end, if you need, the whole world. But the next world will be arranged much better, it will be much more fair and humane.
Sometimes in despair you ask yourself: really, really all the greatest crimes in history have committed in the name of the greatest, high goals of good and justice? And Will-Neils are asked as the next question: do you know how creating evil that they are creating evil? Are they healthy or insane? Can madness conscious of their madness? What drives our actions - the desire to do this or the tragic impossibility to do otherwise? This question is also obviously intractable. In a word, today the mystery of the great humanism of the Great Hamlet again demands that not a random - it seems to be impossible - then at least another attempt to understand. This story sets all new and new questions.
Lion Dodin released a performance called "Hamlet", although Shakespeare's play for him is not only an object of research, but not even a reference point. This is only a certain cultural and ideological myth, which DDA announces false already in the program, before the start of action. "Maybe there is a great revival, including one of the heights of intellectual and spiritual enrichment of the ancient barbaric principles of revenge, hatred, murder, destruction. Maybe all the development of humanity, which we are all so proud - it is also barbarism; Continuously intelligently enriched, intellectually and spiritually justified barbarism. And maybe all the progress we admire, are the intellectualization of the lower human instincts, which led us to where we are all, humanity, "says Dodin, attracting the hall to think about this topic.
A series of cultural codes declared at the very beginning of the performance, in the first minutes, it is built into a certain coordinate system in which the audience will have a dialogue with all the creators of the performance, since the DOD is working in such a way that not only the artist, but the actors certainly become its like-minded people. The first of the codes is "Tango in a crazy house" Stonzka from his "Life with an idiot": it breaks into the hall because of the doors-splazed with the prince - alone, others, third - and sounds, as Nabokov would say, "Eternal Refren", Hinting and on endless repeatability of history, and at the infinity of idiocy in one separate country. And besides, it contains a straight hint of Hamlet's madness, because he from the very first minutes exists in two faces - those that are printed on his T-shirt: a young hero, himself, and an old man, extremely similar to the young Hamlet. Prince - Danila Kozlovsky utters text for two, for himself and for the ghost of his father, so that any real ghost speech does not go, but it goes about schizophrenia, in the image of which the prince is not too much learned and, it seems, does not really seek to succeed .
Dodin does not reread, and rewrites Shakespeare.
The fact that Gamlet will play Kozlovsky was obvious before the start of rehearsals. Like the fact that Gertruda will appear Ksenia Rappoport, and Obelia - Elizabeth Boyarskaya. When Igor Ivanov and Igor Chernevich were also engaged in the performance, Igor Chernevich, in the oilyatral circles, they spoke: "Well, it will be a" second series "of cunning and love". " No one doubted that Ivanov would be Claudia and it would be a twin of Shiller President von Walter, invincible for anyone, including for Hamlet. However, only one thing was faithful from all the prophecies: the Hamlet in the performance does not look like a hero. In general, Dodin consistently deunerizes the main filmmaker of the country. And this gives the opportunity to Danil Kozlovsky in the images of antiheroev - what they look at the MDT stage and his Ferdinand, and his lopahin, and now Hamlet - grow the actors from the play to the spectral. But the case in this case is not in the gamlet, is not that he is an ordinary tyrant, followed by the cable of deaths, nothing, for dawn, not justified. The fact is that in the logic of this performance Hamlet - Kozlovsky and Claudius in the performance of Igor Chernevich, not conscious of this, are one, and not on different sides of conditional barricades - and Gertruda and the young energetic stukach of Polonia Stanislav are sent to them Nikolsky, who does not turn out to be a father, but brother Ophelia. There would also be all the other courtesies, if Dodin did not smear them, in order not to multiply the essence, and their words did not distribute the remaining.
The text of Shakespeare's play is not just radically reassembled - opted a completely new play. And dat here is honest - in the program it is written: an essay for the scene of a lion diving on Saxon grammar, Rafael Holinsud, William Shakespeare, Boris Pasternaku. At the first two - chroniclers, historians - Dodin learned the testimony of an incredible, pathological inclination to violence of all people clothed with the authorities. In the "Saga about Gamlet" chronicler of the XII century Saxon Grammar Danish Prince and really kills incommensurable more compatriots than the literary Shakespearean hero. And, possessing this knowledge, Dodin does not re-read, and rewrites Shakespeare. Apparently, a completely white robe of the scene, for the time being, hiding a very specific image of the state (the artist - the permanent co-author of the recent years, Alexander Borovsky), is not only white clothes, in which any power argues, as "bloodthirsty is ruined in Christianity armor", According to the expression, sounding in the play (I will not take it to say, who owns its authorship - it is likely that the dive itself). These are also "white pages", on which Dodin "writes" his saga about people of power as a particular case of people at all.
MDT - Theater of Europe
The big connoisseur of the human souls, the world's title in the world (the director himself categorically denies the eligibility of this phrase at all), the Lion Dodin in his "Gamlet" initially deprives the attitude of the heroes of any volume - this is no more than tie, the essence of which is exhaustion On T-shirts: for example, THIS iS. mY. King. (Gertruda near the portrait of Claudia) or THIS iS. mY. prince (Ophelia as a comment to the portrait of Hamlet). The performance lasts two hours without intermission, and in the first quarter of an hour, the viewer makes it clear that no one is unnecessary here. Dodin does not allow Ksenia rappoport to play neither a drop of maternal heat - Hamlet and Gertrude dancing tango in the prologue as two enemy: every replica is exactly the blow to pain points, but those points that seem to be guaranteed painful, both characters, as it turns out, Atrophied. Gertrud almost does not deny his reporting in the murder of her husband, and in the future it is directly in it recognized, accusing the dead spouse in the "narrowlessness and an insurmountable desire to humiliate." The rage of this woman whose deeds are dictated by an obsession with two passions - sexual and desire for power, pretty quickly turns Gertrud in Lady Macbeth (before his death, she also utters one of her phrases.). The son is worthy of his mother and even more intelligent - the only passion is breaking him. He explains his hatred to Claudia extremely concise: "You stand the barrier between me and the throne" (Pasternak said "between me and the people", but the category "people" in the context of the Dodinsky "Hamlet" is simply inappropriate). In love with his sincere Dureh Oceliya (tears of this girl, who does not recognize his boy, suddenly revealed the smell of power and wrapped in a predator, is perhaps the only thing that somehow touch) Hamlet forgets faster than that goes crazy. It is interesting for him to be interested in the fate of the one who bury in a fresh grave, so the lack of Laert and the final duel is very logical.
Here, probably there will be those who ask: why, in fact, a fence in this case needed Shakespeare? Wrote his play about the world, which is so inhuman. These questions that recently are often asked by Russian directors officials, or even the critics of the "new format", are extremely fun. And after all it is useless to hope that in this case the line of dramatic tension occurs primarily between the premodic and the humanistic myth, whose crown is a lot of centuries. Shakespeare remains. Shakespeare needs a dawn then, why need Heinera Muller Hamlet or Medea. And it's not by chance that in a letter of Prince Ophelia, voiced by Polonia, the phrase "Machine Hamlet" appears. Dodina Hamlet would not subscribe under the words of Muller's hero: "Thoughts are ulcers in my brain. My brain is a solid scar. I want to be a car. Hands grab the legs to go not to behave not to think pain. " Doodle Hamlet, like Gertrude, is already cars whose actions are predictable as predictable actions of any known mechanism, among which state power is one of the most well-defined. So, when Gertrude and Claudius, without claiming, they will be thrown at the unfortunate madness of Ophelia, whose mind did not stand the first death, and then from a height because of the white curtains in the basement will fly a soft doll, it might look surprisingly performed by Shakespeare, but Not diving characters. And in the paradigm of dawn, star artists MDT Ksenia Rappoport and Danil Kozlovsky, devoid of charisma and charming, which are full of their screen heroes, is an incredibly effective director's move.
MDT - Theater of Europe
It also impresses the special role that Shakespeare's "Hamlet" actually, a little book in the cover, a copy of the one with which for more than a decade, according to his own admission, was not part of Dodin. This is exactly from it, and not at all of the unknown spectators of the XXI century "killing Gonzago" Hamlet, obsessed with the idea to scare a mother, and not "to drop the conscience of the king" (the local soft clawdies is not capable at all, but the bed is probably choosing Quotes for the play. It is a hammlet hides the lace panties of Ophelia (who arrived in unknotely, from where an invitation to postpone the case for the sake of pleasure). This from it lost Ophelia's mind will pull out the pages and give the king and the queen under the guise of violets and rosemary. It is in her Hamlet - Kozlovsky will find a housing monologue "to be or not to be" and will try to read it, having risen on the staircase, as children climb on the stool. A monologue, although the prince will read it very diligently, which is called, will not sound. No other famous (in order not to say - masterpiece) monologues Dodin Hamletu - Kozlovsky will no longer give anything. And not therefore (more precisely, not only because) that the strength of these texts is so great, which will justify, perhaps, the murders. The fundamental idea of \u200b\u200bthe director will be clear literally immediately as soon as the Shakespearese text comes off from the mouth of professional actors, which unconditional masters play in this performance. So, as soon as Igor Ivanov, Sergey Kuryshev, Sergey Kozyrev will take its places on three stairs, towering over the scene, and, by talking towing their mercantile texts about how smalllage, but the pretentious youth comes to them on the heels, will begin to express Shakespeare Rhymes, A simple truth will be discovered: policies, among other things, are also disgusting actors. Against the background of the theatrical pros of their (politicians), the combinations look a chowlish amateurness, poorly hiding the true essence of the political personnelists themselves, and their actions.
So the question of whom Igor Ivanov played, almost to the premiere itself, the rapidly discussed in the oilyatral circles - in the top ten. The answer to it is the key to action. Ivanov plays himself - a large artist and alter ego. The creator of the performance. It is they who are Sergey Kuryshev, Sergey Kozyrev and Igor Ivanov - forced the text of Shakespeare as a newspaper editor: "Buying glass eyes - and do the look like a scoundal politician that you see what you do not see you." This is he, Igor Ivanov, who is in the play name Marcells named guard from Shakespeare's "Hamlet", suddenly, with the help of one of the monologues of King Lira, changes the angle of reflection of everything that happened in the play - and justifies the sin of adultery with the ease, with what a magician Pulls the hare from the cylinder. He does this, just peering into his empty palm, on which there are supposedly in this moment that the flies are indulging, which proves the absolute naturalness of such an act. However, at the next second, the angle of reflection changes again: the cry of Marcello - Ivanov "Cool! I need soldiers "Returns everyone in a very specific reality. And then again and again - to infinity. It seems that three of these actors could thus to re-read the entire Shakespeare, the transformation of words, words, words in crushing today's meanings and subtexts.
MDT - Theater of Europe
For the political theater in its pure form, Lion Domin, of course, too big aestet. And it is unlikely that he will ever agree for any revelations to exchange its multi-layer theatrical symbolism on the radicalism of slogans and zones. And the fact that the real actors are the only ones who rise in his performance over the world of barbarism and violence, comfortably feeling at spectacularly highlighted vertical stairs, and the stairs, in turn, refer to the staircase from "demons", for which climbs and It climbs up in nightmares Stavrogin desecrated by him, the proof of them. There is no single non-erected image, gesture or details on stage - right up to the red panties of Gertruda, harmonizing with its red lacquer shoes. This is not clear how completely according to the laws of the musical composition is injected in the "Gamlet" purely emotional tension: for each death, behind every corpse flying into the subfield, follows a deafening roar of boots, and four statutory men cover the next "grave" with a wooden slab As if it was, - even the mobers at dat work perfectly aesthetically. And the whole performance you painfully remember where you heard this grip, measured topot - while the Hamlet does not pull white cloths and the square corridors and stairs of a giant prison are not opening. Similarly, it is in these prison "wells" in a variety of films here is so deafeningly given the sound of uniform boots.
And when half-colors are found for one of these white curtains and therefore some helpless Gertrud and Claudius, the final of the "death of the Gods" of Wisconti will be remembered. True, no one will give these heroes to the ampoules with cyanium potassium - they will voluntarily drink poison from the flask, which Gertrud itself filled with such a case. And the Hamlet in the final is not a deputy in Nazi greeting over the corpses of the king and the queen. It will happen more terrible. From the screen of the plasma panel, which is carried away before the hall all the same beautiful mounts, a new ruler will turn to the assembled - FortourBras in civilian clothes, a shocking authentic type with a characteristic set of replicas, intonations and a characteristic facial expression. The theater assures that this person has nothing to do with the theater. And in the logic of this performance, a similar fact is murdhered.
Since the amazing paradox is laid in the Gamlet of the Small Drama Theater: to delay the destruction of the myth of the humanism, Dodin in the end heded the anthem to one of the most humanistic arts - the art of the theater, the only one, where a person looks directly in the eyes of another person, why the impact of the meaning generated on the stage of meanings increases factor of.
This or that interpretation of "Hamlet" is very convenient to describe through some one main distortion of the original text of the play. For example: in the play of Robert Pepherp in the theater of nations, all the roles of the Shakespeare tragedy plays sole Eugene Mironov. In the "Gamlet" of Thomas Ostermayer in Berlin, Shaubuhne, the Danish Prince of Tolsta, ugly, wears the crown upside down and suffers from turret the syndrome. In the play "Hamlet - Point G" in the Moon Theater, there are exclusively lady in sexy outfits. Etc.
With the play of lion, such a focus will not pass. Direct modifications can be listed infinitely. Ophelia (Elizaveta Boyarskaya) has to be polonia (Stanislav Nikolsky) is not a daughter, but sister; It is killed by Claudius (Igor Chernevich) and Gertruda (Ksenia Rappoport) without pants. Laerta, that is, the brother of Ophelia, there is not at all, as there are no more gurba characters, including Horatio, as well as Bedolag Rostecran with Guildenster. The thought of suicide visits Hamlet immediately after sex, and his "to be or not to be" the Hamlet is not otherwise consulted with Tomno Remotious Ophelia.
Everyone is inclined to obey, everyone is black and modern; On a T-shirt, everyone is a portrait of the idol (at Hamlet - the former King plus half the face of Hamlet himself, Gertruda - Claudius, from Ophelia - Hamlet). Situation - Parter and disassembled layouts surrounded by three-tiered construction forests; Five acts are stacked in two compact hours fifteen minutes without intermission.
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In the "Gamlet" of Leo Dodina diverged two plans. On the first, Danil Kozlovsky (bad) plays on the flute, the audience applauds; On the second - the obsessed oppositionist compromising compromising on the current power. On the surface - an erotic scene with the participation of Elizabeth Boyarskaya and Danille Kozlovsky; In the perfect and hermetic world of the directorial concept at the same time - the connection in the uniform image of themes, flesh and love. Outside - a vague criminal detective at construction site (the corpses are naturally discharged from the top of the top); In the sense, the adaptation of the model of the universe with greetings to the Shakespeare Theater "Globus" with tiers and the precedence, with "hell" and "paradise", in which absolutely postmodern tasks are implemented.
The performance of the artists of the performance is an exciting process of pulling individual organics to the angular fittings of the directorial concept, very schizophrenic from the point of view of psychological realism. For example, Gertrude, in one monologue of which the replicas are mixed from a variety of pieces of play, suddenly suddenly suggests Hamlet to wipe blood from the face. Since no blood, of course, no, actress Ksenia Rappoport honestly depicts clouding reason. And the tired clusadium in black shorts and red moccasins, seeing his wife dives in the hold, states: "Well, I will drink and I" - makes a sip from the flask for whiskey and dives next. And of course, the final replica of Fortinbrus ("On this kingdom I am given the right"), revealed from the plasma screen in the form of a non-battery deputy, discouraging directly rhymes with reports of state-owned media.
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You can learn a lot about the play of Dodin "Hamlet" by looking at the director who took place after the premiere on April 6.
Performers of central parties fill the quiet empty space by intonation almost documentary likelihood. They are in counterweights periodically arise from Paul Sergey Kuryshev, Igor Ivanov and Sergey Kozyrev as a trio of stray artists. Their mouth is broadcasting the charming coarse world with fatty and alive intonations of the fairytale theater. No wonder they live where it is pretty soon in the course of the action marks the universal cemetery.
In the end, the conceptual meaning of the "Hamlet" Lion Dodina is a straight-sided omnosis that tells about the meaninglessness of the political struggle (the Hamlet needs a throne and no more) against the background of the collapse of European civilization (they are completely helpless and confused by Claudius and Gertrud). One world ended, while the new one seems to be even worse than the previous one. In the overall denominator of which the main hero of this timeless is triumph - he is beautiful and zinica, self-confident and rude.
Intellectual rebus, the topical statement of the non-separating matra? Yes, it is better not to say. But it is also a really "performance with Danille Kozlovsky" - a media person, a pet favorite who is accustomed to meet him on blockbusters about fire, airplanes and Kievan Rus. In the native MDT, the performance must be quite different, but on Moscow touring it also acquires this secular, predatory dimension. You need to see to believe.
"Hamlet" in MDT of Europe - an essay for the scene of a lion dodin on Sakson grammar, Rafael Holinsuda, William Shakespear, in Boris Pasternak. Starry - Star Trio: Ksenia Rappoport, Danil Kozlovsky and Elizabeth Boyarskaya. More about the formulation will tell our correspondent Ekaterina Buliyev.
Life "S But A Walking Shadow, A Poor Player
That Struts And Frets His Hour Upon The Stage
And Then Is Heard No more. IT IS A TALE
Told by An IDiot, Full Of Sound and Fury,
Signifying Nothing.
"Macbeth"
Lion Domin, designing his Gamlet, uses Shakespeare's play as one of the sources. The program also specified Sakson Grammar, who in "Acts Danov" praises Hamlet for his unbearable cruelty: the prince not only cracks the prototypes of Polonia, Rosencrana and Guildenster, but also challenges the king and burns the castle guests alive. In addition, Rafael Cholinshed, whose "Chronicles of England, Scotland and Ireland" served as the basis for the creation of Richard III tragedies, King Lire and Macbeth.
Artist Alexander Borovsky hides an exemplary prison Elsinor in the scaffolding. The heroes are freely moving on the scene frame, they frozen on the stairs, go down to the auditorium, go in the lobby. Throughout the performance, the prince methodically places his loved ones into the graves. The action resembles a wonderful game of chess with a death knight: the figure is sweeping, the cell is cleaned, the Military march of the graveters and the knock of their hammers are opposed to nausea. The victims fly from a great height, die with the roar, the dead become the foundation of the future state .... behind the walls of Elsinora there is another world that random sun bursts and piercing music sometimes penetrates the castle. There is a choice - go or stay. But it is impossible to put the obsession with the power. In Hamlet (Danil Kozlovsky), the spirit of his father was settled. The idea of \u200b\u200bcapturing a throne with a black cloud lives in his head. This Hamlet finally moved to the dark side and reflected his long, sinister shadow of Macbeth. The main monologue "swallows": the prince does not reflect on, it acts. Metropolitan tragics Horatio, Marcellular, Bernardo, brilliantly played by Sergey Kuryshev, Igor Ivanov and Sergey Kozyrev, echoes with the images of three witches. The rest of the characters, conveniently located in the chairs of the parquet, are preparing to see a good, classic performance, and get a modern play about your own nightmares instead.
Gertruda (Ksenia Rappoport) - The Devil in the details. Graceful predator with droplets of red varnish on the nails - "This lady did not forget the bloody throat." Initially, she looks more like a sister of Hamlet: Queen is young and energetic, she has a boyish haircut and a male suit. Gertrude dancing tango with his own son is slightly more passionate than permissible. But Ksenia Rappoporth deliberately muffles the paint of his heroine, leads it to Dusk - In the foreground, the prince of Hamlet must remain in the foreground ... Claudius (Igor Chernevich) with a soft, brutal mouth needed to her love, and not for war. The tandem of a strong woman and a weak man is another sign of time. Claudia has an inscription "I'm The King" - probably not forget about your high position. In all the characters, in addition to the experimental batch, Polonia (Stanislav Nikolsky), carefully masking his sympathies, as a banner - portraits on the T-shirts, as if the heroes were a glass ladder, and we see that they had in their heart.
Ophelia Elizabeth Boyarskaya is not at all like a gentle, weightless nymph, the image of which is worn in the technique of Sphumato. She is the main "fan" of Prince Hamlet. This Ophelia Hamlet is a couple. Liquor friend, colleague, accomplice. It acts with female methods. When the prince does not pay attention to it - it goes, rudely rushing his fingers: she already knows his next move. Gamlet is flying a lace "news" - the prince catches this glitter and instantly disappears under the scene ... Lovers most likely resemble Chet we have just married macbets. And from Ophelia get rid of - as from the rival, able to make another contender for the throne ...
"Hamlet" Lion Dodina - Black and white cinema, whose frames sometimes bleed: Aluminum flaps in Horatio costumes, Marcello and Bernardo; With red shoes, Gertruda and Claudia - the eternal evidence, saying that the path to power passed the ankle in the blood.
Hamlet - Mad Fleetist, who decided to clear the kingdom from rats. Yes, it is not enough: he will be the last of them ... Mousetrap will shut. Flute will turn first to the spine Jorik, and then in the weapon butt. The prince will perform its last dance on the covers of the coffins, and play, with the ease of artist of the Broadway Music, will go down to hell. Only tragics and a huge plasma screen will remain in the final, which is broadcast by a new ruler. Fortinbras will be brief: the number of dead will count colorfully and takes responsibility.
Leave MDT, and a long loop still draws questions ... Hamlet can be any? Is it enough of the star status and cold cinematic masculinity in order to play a major role? Why are Hams today reborn in Macbeth? For this metamorphosis there is a pessimism of the author: art is not capable of changing people, just like it cannot cure a person from loneliness. But the image of Hamlet, dropped from the humanistic pedestal, becomes no more voluminous than the print on a black sweatshirt, and its depth and complexity are simply turned into words, words, words ...
At the Golden Mask Festival showed one of the potential favorites of the competitive race - the play "Hamlet", the author's version of one of the most repertoire places of Shakespeare. The historians of the theater, critics more than once stood that each era puts forward his Hamlet: the trend of time is offered to the Danish prince, then the mask of the noble Avenger, the philosopher and thinker, then confused, bodied in the powerless reflection of the intellectual. Lion DODIN in his hard political performance saw Gamlet as a vustolubets and ambitious careerist.
Scenography Alexander Borovsky - Scaffolding, iron structures, beams, crossbars, stairs and balconies, covered with white dirty canvases. Opened floor: rectangles, scheduled for partitions, during the performance will gradually close the bats to business scenes. The heroes of Shakespeare are not just killed here and buried, but in fact riveted in the ground, they are immuting in the foundation. In the final, the curtains will fall, the metal structures will be exposed, and on top of the floor lay a new carpet - so that nothing resembles.
The performance begins with a rapid, some disclaimed tango, more like a fight than on the dance: Hamlet, a young man in a sweatshirt with a hooded hooded, knocking his mother, young more, beautiful, european stylish brunette with short Model haircut. In the inclusive performance, the Tango final will happen again - but the half-handed Hamlet will already dance it alone in some kind of animal frencher.
The play is seriously edited, reduced, smashed, diluted with texts from other works of Shakespeare. Characters that and the matter utter other people's replicas, choose features and biographical episodes of other actors. So, polonium here is the same Laert, he is not a father, but the brother of Ophelia. There is no Rosencrana and Guildenster, but actors playing "Mousetrap" - also gravers. In the program, they are not indicated as Horatio, Marcello and Bernardo (the scene with the ghost, with which the play begins, here is played as an idea for the king, made by cold-blooded and cunning gamlet). As for the "borrowing", then, for example, Ophelia and Hamlet are explained by the texts taken from the first meeting of Romeo and Juliet at the holiday in the house of Kapulenti.
DODIN strongly argues not only with numerous interpretations of the play, but also with the original text - it is not the killer, and Herrud, and her motivation at the same time, and political, and personal. She informs about his crime straight, openly: "I killed." The heroine speaks about it with some regret and annoyance, but also with confidence in his right. In how she recalls the deceased, a lot of contempt and even female, purely physiological squeamishness. According to her, the king was tyrant and barbarian, and Denmark, during his rule in civilized Europe, considered the "Caban Corner". In the interpretation of Gertruda, the murder of a husband is a political act, the act of freedom, the need to be dictated by including, including the consciousness of his own responsibility for the country. When everything will fly to hell when her son spines on a new bloody wheel, in the intonations of Gertruda, not only fatigue will appear, but also sorrow on unjustified hope: the thiranobor initiative turned into a short "thaw" and a new dictation.