Sarah Elghazi / Les Trois Coups

“Hamlet” by Oskaras Koršunovas


For O. Koršunovas, “Hamlet” is the true tragedy of our time. White, black and crimson red prevail in the scenography – the anxious and depressive consciousness of a modern young man torn between public inadequacy and commitments, dictated by his perception of honor. The biggest hypocrisy of existence: here the traitors come to the throne, the mothers are cold and disown their children, and young girls are doomed to suicide. Here, in the face of the madness of justice our life loses its taste. <…> Mirrors, reflecting the cold neon light, gradually become similar to the catacombs of Elsinore, the hall of a king or the field of a critical battle.  The siren’s din permeates the entire body, marks the key moments of the play and creates apocalyptic atmosphere. <…> The performance rushes like a whirlwind, sometimes it seems that even too quickly; in this adaptation places, connecting and explaining certain events have been omitted. The text of the play is metaphorized, ritualized and, of course, filled with original black humor. For example, a glass of water, splashed on Ophelia’s face symbolizes her drowning; Yorick’s skull becomes a cup filled with poison for the queen… After the play, the continuous action stops: the actors return to the make-up tables and begin to wipe off their make-up. This is the point of return to the real world, bidding farewell to dreams of justice and power. “And the rest is silence.”