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• W62826714 abstract "Hamlet Presented by the National Theatre of Nanterre-Amandiers, Nanterre, France. January 15-February 15, 2004. Directed by Patrice Caurier and Moshe Leiser. French translation by Jean-Michel Deprats. Design by Christian Fenouillat. Costumes by Agostino Cavalca. Lighting by Christophe Forey. Music by Julien Civange. With Gabriel Arcand (Claudius), Charles Berling (Hamlet), Isabelle Blais (Ophelia), Marc Bodnar (Laertes, Francisco, Player King), Christiane Cohendy (Gertrude), Roland Depauw (Horatio, Voltemand), Maurice Deschamps (Ghost, First Player, First Gravedigger), Cedric Dorier (Player Queen, Norwegian Captain, Cornelius, Messenger), Rachid Hafassa (Fortinbras, Marcellus, Prologue, Second Gravedigger), Denis Lavalou (Guildenstern, Bernardo, Osric), Gabriel Sabourin (Rosencrantz, Priest), and Jean-Marie Wingling (Polonius). JANET SAVIN The National Theatre of Nanterre-Amandiers, situated in Nanterre, just to the west of Paris, has become a forum for well-known directors, German and English as well as French, whose unorthodox approaches offer the public challenging theatre. The Hamlet directed by Patrice Caurier and Moshe Leiser, who work mainly in opera, was a theatre of the absurd, with tragedy touched by comedy, comedy by tragedy. Their staging, practically uncut, with playing time of three hours and fifteen minutes, fully engaged the audience's attention. Faithful to the complexity of the play, they and the actors constantly took risks and made them work. Coherence was not, however, the first impression given by the set. It looked like a basement that had been a catch-all for generations. A bed and a high wall of cinder blocks wrapped in chicken-wire dominated stage right. Stage left was cluttered with tables and chairs, and a post-war vintage piano, bar, and refrigerator. A stuffed toy pig lay on top of the refrigerator. A leopard skin sofa sat smack in the middle of the stage with orange and yellow plastic chairs behind it. Continuing to vary textures, periods and social class, the designer placed a dinner table and chairs in salmon velvet upstage center. Leering over them from the wings was an enormous plastic horse frozen at full gallop, nostrils flared, mane flying. Boards and other paraphernalia cluttered the area on either side of the animal. This set, together with the presentation of the characters, gave the staging unexpected dimensions. When the portly Polonius questioned Ophelia about Hamlet, he led her over to the refrigerator and set the toy pig upright before taking out a beer. His beer belly suggested a parallel between Polonius and the pig, and changing the animal's position from horizontal to vertical comically prefigured an attempt to undo his own death in Gertrude's closet. In the moment, his gesture gave the scene a lighter touch, which was reinforced by his relatively casual tone. This apparent lightness, however, was in stark contrast to his contemptuous dismissal of Ophelia after he and Claudius used her to spy on Hamlet. There were other similar moments, which ultimately rendered the cruelty of the king and his entourage particularly brutal. Hamlet was played by Charles Berling, a respected French film actor whose recent roles have included the lead in How I Killed My Father. Initially, he was better at comedy than at tragedy and the soliloquies in the first third of the play lacked modulation and nuance. He moved into the role with O, what a rogue and peasant slave ... which successively expressed anger, bewilderment and frustration, irony, and finally cunning. The strength of his delivery lay in understatement. The reproach of the pipe addressed to Guildenstern was devastating in its calm logic. This Hamlet was particularly isolated. He was set off from the other male figures by his thin frame, which emphasized his vulnerability, and by his dress--simple slacks and sweater--in contrast to their more elaborate costumes. …" @default.
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• W62826714 date "2004-12-22" @default.
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• W62826714 title "Hamlet: Presented by the National Theatre of Nanterre-Amandiers" @default.
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