Me here, or me not here...
I better suffer your blows, Fortune
or defend myself
against the sea of your cowardly blows
and so, finish. Die, sleep...
and then nothingness, and only like this
leave it with a cracked heart
Summa of a long and profound artistic experience with ‘sensitive’ actors that began over twenty years ago, the multiple scenic rewrites of the Hamlet have become a fundamental poetic place in Lenz's theatrical research.
After the productions at the Rocca dei Rossi in San Secondo, the Royal Palace of Colorno and the Teatro Farnese in Parma, the Hamlet of Lenz, directed by Maria Federica Maestri and Francesco Pititto, takes a further scenic form transposing the artistic monumentality of the work in a synthesis of powerful emotional density.
In this Hamlet Solo a dramatic device is made explicit that reveals Hamlet's orphan nature, his inevitable and absolute scenic and existential solitude; in a breathless crossing of the text, the actress implodes within the other characters, the only ‘living’ instrument of a visual score of ghosts.
The dialogues with Horace, the Queen, the Phantom of the Father, Guild and Rose, the Actors, The Gravediggers, King Claudius are inflected in the only possible heroic duel, that of the actor with himself.
