Ritual for Hamlet

"Ritual for Hamlet"

Work in progress 2001 / 2013

One-act play in three scenes for Performer and Video Installation

Performance/study about Hamlet of W. Shakespeare


edited by
Mataro da Vergato


Notes

This work was created by a work-in-progress played by the artist performer Mataro da Vergato in relation to:

1) The dramatic character of shakespearean Hamlet

2)The "Sexual Gender" or "Identity Gender" (Male - Female - Neutral)

3) The "Cross Dressing" (Disguise), which form destabilizing and challenging the Power

In the first scene, Hamlet/Neutral uses the disguise enter into
models of gender and gender conflicts generated by the family
represented by the Father and Mother, up to the choice
the identity of character:

TO BE OR NOT TO BE

In the second scene, Hamlet/Actor becomes the theater in the theater,
the scene as an emotional disguise of the character:

BE IN BE

In the third part, Hamlet / Ophelia uses insanity as a disguise of reason,
a "sure place" where "you can repair from the storms of life that we sometimes upset."
And in the real or perceived madness to remain anchored to their dreams as the games of childhood,
as the only reality "human" against the inhumanity of adults:

BE NOT BE

The first is the Hamlet of the doubt and ambiguity of gender, through the conflict
Mother and Father = Revenge = Betrayal, goes and confronts the seductive temptation
the meat first and then with the wounded honor of the warrior and the violence of the second.
Only in the choice of himself and what he will find the clarity and the
trust that will take him to the other by himself and to his doom by man's nature.

The second is the Hamlet of the theater as catharsis, as a ceremony for a truth that must "appear"
to get to the heart of the world. The actor/priest through the ritual scene,
 performs the miracle of emotion/event.

The third is the Hamlet of mental alienation and fear to try to hate everything he loves
and offering himself to death out of respect for the noble life;
Ophelia becomes, with his true madness, sing-deception of love / hate and life / death.

The game between the "reality" of the theatrical performers and "virtual reality" of the video image,
 converses with which the performer, says the sign of the androgynous stage fiction
impalpable and the pace of narrative truth.

Mataro da Vergato


ONE ACT

The scene

On stage we have a centrally-screen
and flanked by two large paintings to be lit during a performance.
On the right a boudoir and a wardrobe of clothing for women
and left a support that holds armor.
Centrally below the screen support
with the costume and wig in Hamlet.