Can You Pierce Areas Where Warts Are Around

Loneliness of Hamlet

(from Judgement )
We saw a preview of the national spectacle of the Wheelbarrow Shakespeare Company's . An anti-hero prince strikes men as puppets, hallucinatory metaphor of the trap play and frivolity of every gesture

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A quadrilateral draperies in purple quilt ring board, arena and theater. The only side that shines turns to the audience, and insurmountable wall paradox for what it is the drama of dramas, the story of the Danish prince. What is a metaphor, the second declension: the modern man, the stage machinery, the Oedipus complex, the hero-antihero well aware of the infinite vanity of gesture and, therefore, decided to stage dive into the game, contrary to the realities of crime and revenge. (Photo by Philip Brancoli Panther)

At hatching the scenes, the visual picture, dark and obsessive in its stillness, is tormented take the form of the paranoia of a Hamlet lost in pale carmine, opposed by the supplier of half-naked bodies and feral materials that appear on walls. On stage, the right of the viewer, a shelf on which figures as Rising crib, projection of the table mind that Shakespeare's text mentions several times. Here the plot takes place in the stage mirror is double: the fall of the actors is the thud, at the hands of Hamlet, figurines, and vice versa.
Everything revolves around him, everything is creation, vision and dream of the prince alone, child-directed, warper of performances for soldiers whose severed head at the time agreed. Giandomenico Cupaiolo quest'Amleto is standoffish, thoughtful, stubborn, desperate than the revenge ordinatagli, fool and comedian for staging guittesca orchestrated by himself. Everything revolves around him, dressed in dark, surrounded by a white appearance fatal. Vertigo and is raised with cloth to animate the scene, lights to cross the stage, body sizes of the marble countenance hours sometimes grotesque. This shaver is in the visual system which is echoed in a stentorian sound of brass, and percussion blades hissing stubborn, has turned in these epiphanies, stabbing which is expressed fully the poetry of the body and sound, an authentic North Star Theatre of the Wheelbarrow. The saga Scandinavian congeals, coagulated around its first interpreter, his visionary delirium: each segment of the story is solipsistic birth and distorted, yet the poignant death of Ophelia (Elsa Bossi, who is well cast as Gertrude), which The same girl said in the third person with heart-rending and alienating litany, expanded over time and repeated ad libitum . There is also space for an interlude between Tim Burton and Hitchcock when the notes of funèbre Marche pour une marionnette Gounod, funny skeletons lame mention a macabre dance in the cemetery, miming the act of digging it: when ripping smiles and applause , although not seem consistent with the overall direction of harmony Maria Grazia Cipriani.

Entertainment dense, sometimes difficult, which has yet to find a pace, as often happens to the preparations carrettiani: keeping up the scenic writing a personal gain rhythm and flow to the passage of months and replicas. Cupaiolo It is true that, in the penultimate Pinocchio good work the company does not seem to adequately support a score far more complicated and dynamic changes: its interpretation is sometimes chipped, not without its false notes, though it is only right to acknowledge the excuse of a 'high execution risk factor.
swords drawn close to the tragedy: Hamlet is given to the white against the ghostly presence of his mental scene, a distance of the stage, the darting gesture is enough to inflict the mark and stored. All fall down, bodies on stage and puppets, bulky residues of a complete failure, hallucinatory and haunting loneliness of those who, in the rejection of a desperate criminal world, is only possible to address in the scenic ritual, the repetition of that liminal and effective serious game that is the theater, magic box trap and immortal.

Igor Vazzaz March 23, 2010

Reviewed Subject:
Hamlet by William Shakespeare, adapted and directed by Maria Grazia Cipriani

Upcoming: Rome , Theatre India, up to 28 / 3; Bagnone (Ms), 7 / 4; Pomarance (Pi), 8 / 4, Grosseto, 9 / 4; Casalmaggiore (Pr), 30 / 4, on tour in the 2010/11 season
Warning: check every single date with the theaters, there may be significant variation, due to serious injury of an actor
Viewed: in Lucca, Teatro del Giglio, Thursday 11 and Saturday, March 13, 2010
The rest of the poster: Graziano Gregori, sets and costumes; Westkemper Hubert, sound, Angelo Linzalata, lights, Luca Contini, sound engineer, Giacomo Vezzani, Giacomo Pecchia, Nicola Belli, Jonathan Bertolai, Carlo Gambaro , the actors on stage, theater production of The Theatre of Carretto
Carretto founded in 1983, the company is notable for writing a scene that addresses the strong theatrical tradition (From Shakespeare to Greek tragedy), and the fairy tale genre (with onset in the said Pinocchio, Snow White) with a marked taste grotesque by a fine job on the plasticity of the images, coming to perform in the world
rating : to break in, nothing prevents that, going forward, the only shine bright

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