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On a text dating from 1977, written by the German playwright Heiner Mueller (1929-1995), the Lebanese director Lina Assiran relies on the play "Hamlet Makina", recently exhibited at "Studio Al-Mashrahi" and on the stage "Beirut."
Müller's text does not go beyond its first publication (later published in 200 pages), but at the same time draws attention to the spirit of At the time of its first release, critics pointed out the good management of the elements, despite the absence of traditional plot in the text, including its ability to play on a well-known character and the transmission of music. Other messages Previously, Asiran was able to drop this on the current Arab scene, which is also witnessing movement in more than one direction, and in the process often erosion of the role of intellectuals in society and its relationship in power.
From the beginning, the s The show begins on the basis that we are in front of the characters Hamlet and Ovelia the Shakespearean, but Hamlet's interpreter soon reveals his abandonment of the well-known story that English plays circulated for years. centuries. Tragic and revolting about the reality that surrounds it. "I'm not Hamlet, I do not play role anymore, my words have nothing to say to me, my thoughts suck the blood of images, my drama no longer happens, I will not play anymore."
In the game version offered by Assiran, the recipient finds himself in front of the character of Hamlet divided into three actors (Omar Jubai, Zakaria Faqur and Mohammed Al Mufti). Each of them leads to a potential possibility: we stand before the obscene rebel Hamlet, with the genre hamlet, and finally with the rebel Hamlet or the politically engaged.
The same goes for the division of one character out of three performers: the character of Ophelia is represented by three actresses (Dana Michael, Neven Claas and Roy Hbadami), in this case we are confronted to: Ophelia, Evelia, The Rebel.
In general, the actors demonstrated their ability to understand the characters and dive into their composition. There is a belief that Hamlet and Ovelia meet these variations proposed by the play, and certainly thanks to the ability to highlight the dark psychological and mental world of these two characters, which requires intensive efforts on the plane. emotional and intellectual.
The possibility of distributing a character in the three-actor text on the stage is a smart game vision, but requires a careful mathematical discipline not to make the viewer pale among the faces of the actors, and remains committed in the sense general. The problem arises especially when we know that this piece depends on the poetry of monologues, which requires a representative representation conscious and consistent, and therefore more accurate in the delivery of the text, and good end silent stops, especially the recipient pbades from 39, one performance to the other.
Junaid Sarriuddin, translator of the play in Arabic, already mentions this question: "There is a peculiarity in the structure of the verbal text, the specificity of the overlap between the theatrical and literary characters and the accuracy of this equation in the text. "Hamlet machine" dialogues and monologues, and intertwined with the nature of prose and poetic literature.
In general, Asiran presented an elegant visual spectacle that appears on several levels: lighting, fashion, theater … Here, the iron sculpture presented by cinematography as the pictorial equivalent of the machine mentioned in the title worth mentioning. Louise Bourgois (1911 – 2010), who took the spiders from an epic focal point for her sculptural metal works.
Perhaps this cinematography allowed to convey the spirit of the text to the recipient, who needs space to disbademble more than the word and without interference between sections, characters and attitudes. Different visuals and of course good management of the actors.
Access to bring visual pleasure to the viewer, and convince him to work, requires the integration of the lighting designer and vocal coordinator to the rhythm of the room. Lighting has created a diversity of speech and speech, creating levels and superimposed or contiguous worlds on the stage. Sounds also play their role, and especially music to allow contemplation of the psychic and emotional world proposed on scene, and push the recipient to reflect on the content of the show. Quotations Thus, three characters from Hamlet each create their world and their climate, including their poetry, the rebel's lower poetry, the poetry of the genre and the poetry of the politician, rarely presented on the Arab scene: these three themes are in somehow taboos in Arab culture.
Lina Assairan's copy succeeds in presenting a theater equivalent to these three poems, but the problem of acceptance remains to an audience unfamiliar with this type of theater: is it possible to live l? emotional and mental experience offered by the presentation? Watching this show is also an experience of cruelty, access to the background, and touching its beauty within minutes of the show, in agreement with the French theater theorist Antoine Artou has made the play more influential and rewarding for the recipient. This is an option that makes acceptance of the presentation more difficult, but what to do when you know that the aesthetic on which the text rests is in these peculiarities.
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