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get rid ofconcept and direction:
Francesca Pennini
dramaturgy:
Angelo Pedroni
Francesca Pennini
action and creation:
Carmine Parise
Angelo Pedroni
Stefano Sardi
action and recitation:
4 candidates competing for the role of Hamlet
technical consulting and applause-meter programmation:
Simone Arganini
Roberto Rettura
co-production:
CollettivO CineticO
Teatro Franco Parenti, Milano
rehearsal space:
Teatro Comunale di Ferrara
piece for theatre stages
year 2014
duration: 60'
CollettivO CineticO's Hamlet is a lethal mechanism.
The stage is set to bear uncertainty and inevitability in a constant limbo between irony and tragedy, prose and dance, movement and enunciation. Professional actors, amateurs, nerds, shy intellectuals, hairdressers, exhibitionists, bored businessmen and last second replacements compete to be the main character of the show: Hamlet.
They are real candidates who do not know what awaits them on stage. Led by a disembodied voice-over and maneuvered by mute warders, the candidates fight in a series of trials which translate the formal principles of Shakespeare's text. To be or not to be? To act or to be acted? It is the audience of each evening that chooses the winner of the title: the only survivor among the bodies of his opponents abandoned on the ground in a landscape of Hamlets that adds up to the many others who, for centuries, met the most emblematic play ever.
"That Francesca Pennini is one of the most brilliant and original among young italian choreography was established long ago. The first expression of her genius is in the choice to do, now, not real choreographies but bizzarre experiences somewhere between the fantastic anthropology, the happening, tha laboratory experiment, the behavioral investigation. Her atypical talent bring her to work not only with professional dancers, but with teenagers, improvised performers, ordinary citizens. And what, than, could be her approach to Hamlet if not a Talent-Show? It may look like extemporaneous tricks but it's in fact her tecnique and her peculiar strategy of displacement meant to expand the concept of theatrical action itself, to contaminate it with different matters apparently unrelated to the logic of the scene. In this way, she undermines all rapresentational conventions, eluding and overriding them, she experiments styles and lenguages that seem far away from expressive purposes. She deviates and wanders taking detours but never losing sight of the matter where she started, where at the end she comes back with relentless precision."
"A dramaturgically perfect text: brilliant, intelligent, enjoyable from the beginning to the end. Here the work of CollettivO CineticO is expressed in all it's brightness giving the audience one hour of genial laughs. An absolutely original choreographic work, wich reflects the research carried out for years by Pennini, an excellent choreographer that succedes where too many continue to fail: reinterpreting Shakespeare in an interesting way."
"Are you ready for the weirdest Hamlet in the history of theater? CollettivO CIneticO's Hamlet is something else from the "sacred" tragedy, here savaged and sectioned to create a dance-theater performance that may sounds like a monstrous betrayal. Yet, as sometimes happens, this betrayal is actually a formidable tribute and reactualization of the original"
"CollettivO CineticO with Hamlet hit right in the spot: they succeded reformulating the roles, trasforming the spectator into the main character of Shakespeare's tragedy. Queen of the stage is the choreography, It's impressive the strong movement of the half naked body of the dancers (Carmine Parise, Angelo Pedroni, Stefano Sardi) bound to each other through strong elastic bands and of the four candidates, all, rigorously, with their faces covered"
"The first principle is the movement. Around it the director and choreographer Francesca Pennini synthesized with creative wisdom the famous tragedy of existence, articulating it in images of flesh and bones, whose motion is a ritual, exhausting and bleak as the loop that forces to continue. But there is even more, What we are witnessing is in fact, is a "kinetic" survey that meets the ludic formats of entertainment with an experimental kind of interactive live art. Stripping off all the "already done" CollettivO CineticO's Hamlet is a sharing experience that, even manteining (self-)irony, doesn't forget the punget existential question."
