THE
PRODUCTION
Hamlet
Deconstructed
A Brief Description
By Janet Sonenberg and Alex Chisholm
This
is a psychological Hamlet, not in the sense that it analyzes the character
or the situation; in fact, it assiduously avoids analysis in favor of
action. It is psychological because what is deconstructed, quite literally,
is Hamlet.
In
the moment when the intimations of his prophetic soul prove to be mere
nothings in comparison with reality, the Ghost speaks to Hamlet on the
ramparts and he goes into shock. That shock catalyzes his inability
to know what to do in the face of his grief, his fear, and his anger.
Hamlet fractures into warring identities, each with his — her
— own worldview. Hamlet becomes an internal battlefield struggling
for clarity, struggling to purge both an inner chaos and the chaos of
the world. How does one make decisions when he is plagued by so many
informing voices? How does one make decisions when the question begging
for action might better be left unanswered? What does one do first?
The
world of the play is largely the subjective world of Hamlet’s
opinions, perceptions and memories. We are in his mind along with seven
manifestations of himself: the Scholar, the Adolescent, the Prince,
the Romantic, the Mad Man, the Man of Action, and the Theater Maker.
Sometimes at each others throats, sometimes in collusion, sometimes
persuasive, and sometimes coercive, the seven Hamlets actively take
on the identities of the Queen, the King, Ophelia, Polonius, Laertes,
Horatio, Rosencrantz and Guildenstern, etc., in order to convince the
other Hamlets of the proper course of action.
Hamlet
makes four decisions in the course of the play. They are: to take on
the madness that insures privacy but also reflects a true state; to
use theater to test reality; to murder; and, to accept his own death
(which might be read as suicide — or not). Hamlet Deconstructed
is divided into four movements that depict each of these decisions and
the consequences and pressures that lead to the next decision. Each
decision is a dilated theatrical moment, followed by documentary interview
footage. The interviewees represent Hamlet’s inner identities
(i.e., a scholar, a theater maker, adolescent, etc.) who bring a 21st
Century perspective to Hamlet, his world, and the world of the speaker.
The Hamlets interact with and react to the advice and commentary offered
by these contemporary voices.
The
performance sequence looks like this:
And,
so on…
The
world of the play is the subjective space of Hamlet’s mind. There
are, however, several objective events that take place, such as the
Ghost’s appearance, the murder of Rosencrantz and Guildenstern,
and the suicide of Ophelia. These objective happenings are distinguished
from the interiority of Hamlet’s mind by various forms of mediation,
from archaic to modern. So, for example, the play opens with an exposition
of young Hamlet’s birth into the political world of Denmark performed
as a shadow-play dumb show. The Ghost appears only as video. The murder
of Rosencrantz and Guildenstern is configured as a movement piece that
takes its impulse from the undertow of love and violence in the closet
scene and carries the Hamlets across the sea, terminating in Rosencrantz
and Guildenstern’s deaths.
Hamlet
Deconstructed stands on its own as a performance that speaks intimately
to the battleground that is Shakespeare’s tragic prince. As the
other Hamlets mourn by her grave, the Hamlet-who-plays-Ophelia suddenly
bolts upright in her winding cloth and describes her own death, holding
the Hamlets accountable their part in her suicide. That done, she then
urges the Hamlets to consider death as a resolution; although the purging
of the evil in the world requires Hamlet’s death, it will bring
him peace. “To be or not to be” represents the Hamlets’
collective argument that ultimately leads to both resolution and unity.
Finally, as one voice, they act.
This
account was written as a presentation of the production, prior to rehearsals
and while the script was still being written. The concept of Hamlet
splitting into different aspects of his personality, that struggle,
collaborate and collide still remains, Other minor details, such as
the interview footage that was going to mark the 'act' division of the
play, was dropped later on in the rehearsal problems, due to technical
difficulties.
-- Clara Fernández