HAMLET poem unlimited

directed by Paolo Antonio Simioni
with Alessia Pellegrino, Miklós Béres, SoFi Berki, Gianmaria Martini, Orsolya Heletya or Fanni Wrochna, Piergiorgio Tacchino, Paolo Antonio Simioni.
assistant Giulia Nemiz
"Hamlet is an ocean to cross or to probe in depth. To demand both enterprises is not a human feat. We have chosen the second option with small and humble missions, in which we will attempt to reach
where the light no longer reverberates and where mysterious and bizarre marine creatures begin to appear.
The composition technique of the performance we offer is typical of our working system, already refined with the previous study on Othello, and focuses on creating frames in which we impose ourselves to meditate on the main contents of a work, one at a time, then recomposing them in a structure devoid of horizontal temporal sequence, thus with a more poetic than narrative language.
Few actors exchange roles as needed, regardless of gender, based on the energies that they can more easily evoke, among those that the frame requires. Whether female or male is not important. We hope that the audience is already accustomed to this possibility, having passed more than a century since the time when the Prince of Denmark was played by an over fifty-year-old with a wooden leg: Sarah Bernhardt.
Giving up a horizontal narrative direction is a great responsibility, forcing us to confront that leap outside of history that is myth; to confront that Amloði who kept well away from doubt while planning the massacre with extreme patience: imprisoning the entire court in a net and setting it on fire. Patience in building a plot, but of ropes,
not of intentions. The veil, between apparent reality and the supernatural, is thin; it seems to break when the avenger appears, then it closes too easily. We would like to keep it open as much as
possible and hypothesize that men are ultimately guided by external forces of which they often become mediums. And what shamans can we see in Hamlet and Ophelia! One hurries towards the encounter with the beyond, the other has much to do before, but when he has the opportunity to face it, he does not hesitate.
We try to stay beyond the veil of the manifesto, even if sometimes imagination is lacking; we try to stay with antennas tense to sense
the presence of the invisible in the visible.
All the characters enter the Maelstrom, coming out young-old, alive-dead. Hamlet's father, perhaps the real one, is calling not only the son but an entire generation, an entire aeon. If the homeland
becomes an intermediate space between life and death, something more than a heroic spirit is needed. The necessity of ruins requires abysmal humour. To act, one must be enveloped in the veil of illusion, and even this is based on a certain metaphysical irony.
One must still try to make sense of Hecuba"
(Director's notes)

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