We can consider Hamlet as a way to get intimacy with the theatrical power.
Hamlet uses the theatrical device to focus the essential question, to know the truth and to change his reality.
The method we use to evoke the tragedy are isolation and synthesis: we don't deal with the linear narration.
The image is selfexplanatory: the ear where the poison was strained by the brother of Hamletís father is rebuilt in giant scale with white clay by a sculpture. The action of creation is part of the performance.
We approach a detail and we magnify it to reach the pure physical feeling. As in the cinema language, the proximity directly communicates the feeling of a concrete action.
The performers are a man and a woman, who represent the hight and the matter part, the masculine and the feminine, XX and XY.
The sculpture and the dance are the languages on the stage.
The narrative shape is given by voices and sound.
concept, direction, scenes, lights vincenzo schino - with emiliano austeri/ gigi ottolino, marta bichisao - dramaturg letizia buoso - choreography marta bichisao ñcomposition and sound federico orticañ stage craft emiliano austeriñ- sculpture leonardo cruciano workshop - organization marco betti ñ co-production opera, teatro franco parenti ñ support terni festival, ass. demetra, stefano romagnoli