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Home : Program : Theatre |
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AMLETO Nella Carne il Silenzio - Italy
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| Time : |
Nov 14(Sat) 19:00
Nov 15(Sun) 14:00, 19:00 [CA]
***English Subtitles will be provided on 15 Nov 14:00 *** |
| Venue : |
Daehangno Arts Theater |
| Ticket Price : |
General R : 50,000 won S : 40,000 won
Y/S R : 30,000 won S : 20,000 won |
| Company : |
Compagnia Laboratorio di Pontedera |
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William Shakespeare's classic drama, Hamlet is brought to the modern world and raises new questions. Instead of taking a single role, six actors dressed as duelists becoming king, queen, Ophelia and other characters driving Hamlet into an inescapable destiny. Experience another version of Hamlet by the artistic director of several drama festivals in Italy. |
"Silent Hamlet by the Alchemist of Drama, Roberto Bacci"
Roberto Bacci's Hamlet - From the flesh comes Silence (Amleto - Nella Carne il Silenzio) was awarded the Critics Award in Italy in 2009 and continues on now with a new subtitle. It is a sequel to his previous Hamlet - Everything is Ready (Amleto - Essere promto e Tutto) that raises questions on Shakespeare's original text. Hamlet has turned into an even more experimental and innovative work than before. The acting by Tazio Torrini who plays Hamlet and the script that poses issues with the original work by Shakespeare are both intriguing and attractive. The steel structure on a minimal stage, the simple costumes of the actors and the objects such as the masks are all images that Roberto Bacci restrains and controls to help us deduce the intentions he had in formalizing the piece. The six masked duelists are quintessential characters who carry the story forward. They do not hold onto any single role. They become the king, the queen, and the ghost, Ophelia, Horatio and Polonius. The diversity of roles that they play forces Hamlet to repeat his destiny over and over. They surround him and push him into a corner. As can be deduced from the subtitle, it is Hamlet's own body that forces Hamlet's silence. Silence is a question that is deferred much like the revenge on the murderer of his father that is put off. This experimental piece has a totally different ending from the prequel despite the identical theme.
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| "I could be bounded in a nutshell and count myself king of infinite space." (Act 2, Scene ii) Hamlet's line inspired Roberto Bacci to set up a steel structure that is fully mobile on the stage of a small theater. The regular and repeated sounds caused by the motion of the rusty structure marks the beginning of the piece. The confrontation between Hamlet and the six masked duelists does not remain a simple duel. The six duelists play the ghost roles of Gertrude, Ophelia, Polonius, Claudius, Horatio and Laertes, and even the king and the shadow of the humble old Hamlet. Ultimately, a conflict in personality arises within Hamlet and propels his wishy-washy attitude toward decision-making. At every duel, the sound of steel causes disharmony. The combined lines and roles of the characters and scenes change continuously. As the lines are endlessly regurgitated, they turn the destiny of Hamlet upside down. The materialization of the characters can be confirmed not only by the characterization of the protagonists but also by the structure and color of their costumes. The only actor playing a single role is the one playing the black-clad Hamlet. The duelists contrast with Hamlet through their white Samurai-like cloaks and fencing swords to accentuate the dark inner thoughts of Hamlet. The harmony between the body and the action of actors takes place in the duel scene in which Bacci's spirit of experimentation remains at its zenith with body language leading the play. Furthermore, the tragedy of the play is most poignant in the scene where Hamlet places a skull on top of a mountain of leaves and puts the crown on top. At this point the metaphor of silence cuts across the entire play. |
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| Director |
- Roberto Bacci
Roberto Bacci was born in Pisa in 1949. He graduated from the Department of Literature by submitting his dissertation entitled "Drama and Alchemy". His thesis was inspired by Min Fars Hus (My Father's Houses) directed by Eugenio Barba, a member of the Odin Theatre. In 1974, he set up a center for experimentation and research on drama at Pontedera. He worked on numerous projects in Italy and around Europe in collaboration with artists such as Jerzy Grotowski, Eugenio Barba, Peter Brook, Raul Ruiz, Julina Beck and Judith Malina, to name a few. At first, his intention was to carry out a survey of preferences in drama in order to encourage creative work in drama and to support activities in education and art. In 1975, he made his debut as director with Macbeth. He has continuously pursued works that have anthropological leanings. In addition, Bacci plays a leading role along with Carla Pollastrelli in the company and has produced various works as joint artistic director. Between 1978 and 1987, he served as the artistic director of the Festival Internazionale di Teatro di Santarcangelo di Romagna and the head artistic director of the Festival Internazionale Volterra Teatro between 1990 and 1998. In 2000, he was the artistic director of the festival at Pontedera also known as Generazioni. Since 2002, he has been serving as artistic director for the festival hosted by the Fondazione ‘Fabbrica Europa' per le Arti Contemporanee. He was received a citation in recognition of his services at the Polish festival in 2004. In 2008, he set up Theatre Era to provide the Fondazione with another wing for the further development of the theatre. |
| Company |
- Compagnia Laboratorio di Pontedera
It started out originally as Pontedera Drama Research Center in 1974 and was set up with the goal of seeking the revival and innovation of drama and to promote the spirit of experimentation in drama. In 1999, the regional community and the city of Pisa recognized the Drama Foundation of Pontedera. It has long been collaborating with artists in the Toscana region in producing world-class drama works. Along with producing plays, the company offers education on drama and has supported works of artists and provided venues for collaboration between scholars, artists and dramatists. From the 1980's, the company went on tour around Italy with major joint productions involving some Eastern traditions such as the Katakali Theatre of India and the Bali Theatre of Indonesia. The first theater company to do so, With Thierry Salmon, Zingaro and Raoul Ruiz, it was the first company to do so. Over the years the company has invited artists such as Anatoli Vassiliev, Eugenio Barba and Jan Fabre to present their works. The company has emerged over time as a major host of international festivals going back to the mid-1990s such as the Santarcangelo Festival. Since then, it has gained the name of Generazioni in 2000 and has been serving as an associate member of the Fondazione ‘Fabbrica Europa' per le Arti Contemporanee with artistic funding from the EU.
http://www.pontederateatro.it/ |
| Staff |
Script/Dramaturg : Stefano Geraci
Set Designer : Stefano Franzoni
Light Designer : Marcello D’Agostino
Costume Designer : Marcio Medina
Music : Ares Tavolazzi
Technical Direction : Sergio Zagaglia
Stage Production : Sergio Seghettini
Photographer : Alain Volut |
| Cast |
Tazio Torrini, Andrea Fiorentini, Serena Gatti, Dabora Mattiello, Luigi Petrolini, |
| Original Work |
Playwright : William Shakespeare |
Co-productions :
Carla Pollastrelli, Luigi Lombardi Vallauri, Augusto Timperanza
Review
"The play begins with a duel. It hints at the destruction that has been present even before the tragedy unravels. The duel scene reenacted by the martial arts director is most noticeable for its harmony between body and movement. In short, actual movements for the duel are presented, not symbolic motions or dance movements that suggest a duel, that allow us to realize the difficult training process for actors... To put in other words, it talks about a reorganized Hamlet with a different subject and time frame. Compagnia Laboratorio di Pontedera is presenting the story of Hamlet, or the shadows of "pale and perplexed" expressions to the audience."
- Drama Director Valentina Fulginiti
Awards
1985 Critics Award by the Italian Drama Critics Association : For directing works by Samuel Beckett
1986 UBU : A. Da Agatha (The House of Agatha) directed by Thierry Salmon
1987 UBU : Laggiu Soffia (The Wind blowing Down There) directed by Roberto Bacci
1991 Best Theatre Company in European Culture at the Festival Internazionale Volterra Teatro
1993 European Drama Association : Best Director for Jerzy Grotowsky
1996 Italian Performance Arts Association : Artistic Director at Voltara Festival
2004 Grand Prix by San Paulo Arts Critics Association : La Poltrona Scura (The Dark Sofa) directed by Roberto Bacci in 2003
2004 Best Actor at Shell Drama Festival in Brazil : Cacà Carvalho in La Poltrona Scura (2003)
June 12, 2009 : Presentation of by the winner of the Critics Award in Italy
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