Translation: Boris Pasternak, Mikhail Lozinsky and Anna Radlova
"Hamlet" after Vysotsky? After Smoktunovsky and Paul Scofield? After Craig, Kozintsev, Lyubimov, Peter Brook?
After thousands of thousands of productions around the world?
Yes exactly.
With a risk to life, but also with a great sense of responsibility, the Theater "At the Nikitsky Gate" offers the viewer a NEW, his own, nothing like reading a great play.
In an exceptionally profound, formally sharp, poetic and grotesque production of "Hamlet", Mark Rozovsky appears as a mature Master of Directing, and a bold experimental pioneer of familiar images and texts. The discoveries of Mark Rozovsky in Hamlet impress with their motivation and unexpected decisions, which have a semantic support, thanks to deep penetration into the Shakespearean world-consciousness.
The main theme of Hamlet is the right to violence, the right to revenge, to a personal court in order to achieve Higher Justice. That's why we should not artificially update Hamlet. He is relevant and so. But to re-read the great play, which treats the topic of sin and responsibility for sin, perhaps today is worth more than ever.
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Review
Here Hamlet wanders around the stage with a volume in his hand. He, the actor giving a presentation in Elsinore, the prince only on the stage. But, as befits an actor, Hamlet lives his role to the end. So, learning that the present king, Hamlet's uncle, treacherously killed his brother-king, Hamlet's father, in order to deceive the throne, Hamlet decides to take revenge on his uncle. In his decision, however, he is not sure, and he constantly fluctuates between the notorious "to be" and "not to be," and only in the final, dying, dares to pierce his uncle with a deadly rapier.
So, the story line is true to the Shakespearean text, full of questions and insoluble mysteries. However, the fact that Hamlet is actually a lyceum and fulfills his role without parting with the book makes it possible to say that one truly Shakespearian problem is particularly prominently displayed and grotesquely explicated in the production: do we choose the role that we will play? If not, can we even stage it, arrange accents, creatively beat events, scenery, costumes? Or all that remains for us is to act, frantically giving in to the fact that we live, and asking as little as possible about the question, but who has invented all this, if, say, we fell for revenge for our father and die in the finale of our tragedy?
