address Theaterplatform PickUp

Kloveniersburgwal 131
1011 KD Amsterdam
020 4276619
http://www.pickupclub.nl/

lines lines liens

fear it ophelia, fear itm my dear sister. p.172

contagious blastments are most imminent. p. 173

youth to itself rebels, though noone else near. p. 173

a puffed and reckless libertine. p.175

make thy two eyes like starts start from their spheres p. 186

he seemed to find his way without his eyes,
For out o' doors he went without their help,
and to the last bended their light on me. p.201

as they fell out by time, by means and placed p.209
when i had seen this hot love on the wing. p.210


Though this be madness, yet there is mothod in't. p.214

how pregnant sometimes his replies are. p. 214

as the indifferent children of the earther. p.215

the spirit i have seen
may be the devil, and the devil hath power
t'assume a pleasing shape; yea, and perhaps
out of my weakness and my melancholy,
as he is very potent with such spirits,
abuses me to dame me. p.236

blasted with exstacy. O woe is me
t'have seen what i have seen, see what i see. p. 245

here is metal more attractive. 100

it would cost you a groaning to take off my edge. 262.

i must be creul only to be kind. 286

we know what we are, but know not
what we may be.

Good night, ladies; good night, sweet ladies;
good night, good night.

By heaven, thy madness shall be paid by weight,
Till our scale turn the beam.

There's rosemary, that's for remembrance; pray,
love, remember: and there is pansies. that's for thoughts.

There's fennel for you, and columbines: there's rue
for you; and here's some for me: we may call it
herb-grace o' Sundays: O you must wear your rue with
a difference. There's a daisy: I would give you
some violets, but they withered all when my father
died: they say he made a good end,--

in my heart there was a kind of fighting,
That would not let me sleep

There's a divinity that shapes our ends


Too much of water hast thou, poor Ophelia


There with fantastic garlands did she come
Of crowflowers, nettles, daisies, and long purples,

When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide;
And, mermaid-like, awhile they bore her up;
Which time she chaunted snatches of old tunes;
As one incapable of her own distress,
Or like a creature native and indu'd
Unto that element: but long it could not be
Till that her garments, heavy with their drink,
Pull'd the poor wretch from her melodious lay
To muddy death.

Thou dost lie in't, to be in't and say it is thine: 'tis for
the dead, not for the quick; therefore thou liest.

Now pile your dust upon the quick and dead.

WORDS, WORDS, WORDS

"What do you read my lord? Words, words, words."
last week we did a reading of the piece - a nice soundscape of dutch, german and english hamlet texts. we found out that the english version lacks some scenes - seems that the germans and dutch invented some extra parts (?)


Here are some favourite quotes:

"sterben - schlafen - sterben"
"Es ist kurz mein Prinz. Wie Frauenliebe."
"An old man is twice a child."
" Sei du gewiss, wenn Worte Atem sind, und Atem Leben ist, hab ich kein Leben, das auszuatmen, was du mir gesagt hast. -
Be thou assured, if words be made of breath, and breath of life, I have no life to breathe what thou hast said to me."
"Ich bin nur toll bei Nordnordwest:wenn der Wind südlich ist, kann ich einen Kirchturm von einem Leuchtenpfahl unterscheiden -
I am but mad north-north-west; when the wind is southerly, I know a hawk from a handsaw."
"Why, look you now, how unworthy a thing you make of me. You would play upon me, you would seem to know my stops, you would pluck out the heart of my mystery, you would sound me from my lowest note to the top of my compass; and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think that I am easier to be played on than a pipe? Call me what instrumet you will, though you can fret me, you cannot play upon me."
"This is too long."
(list to be continued + to be used in the performance?)



QUESTIONS (for our discussion)
- what is a theater audience like in 3000? (what is my perfect audience?) (Nancy said: my friends, Cees: my audience loves me and is very rich, Kees: my audience has a feeling of taste, Nicola: an audience that stays afterwards to talk about the piece and treats the performer with respect and love)
- did we really perform the piece (in 3000) ?
- Is Shakespeare considered dead in the year 3000?
- Is Hamlet going to die in the piece - this means speculating about death in the year 3000?
- How can one imagine the future - strategies???

QUESTIONS (for our interviewers WATCH OUT THIS IS A DRAFT...)
- Do you feel sorry for women? / Do you pity women? And why?
- Was ist maennlich?
- Would you like to be a woman?
- Are you bewildered by a smart lesbian?
- who invented the castration complex?
- what is a ghost?
- Can hate produce a hope?
- Do you hope for a life after death?
- Do you think you have humor?
- How much costs a pound of butter nowadays?
- Fuehlst du Blutsverwandschaft?
- Why do dying people never cry?
- Are you afraid of death and why?

Principles of Integration (work in progress)

lots of notes from yesterday.

but first
- you are not here -
today every one [almost] is drunk
im glad nicola is not here and i dont have my video camera
its quite hamelt
Ophelia [nancy] did a dance - hamelts boyfriend tried to interupt
we made some decisions

endless list of personal losses, cultural deaths & political nightmares

now we know each other a bit more
now we know
now we can continue
cut the crap

dance - ancient myth history as, lived and experienced time, endured rather than calculated,
through the ages. then reflections on her.

starting full intensity on tuesday instead

Why dont we spend Monday preparing material separately. so we all have something practical to show/share on tuesday.?...
nicola also won't be back untill tuesday - if i remember correctly...?
so i say yes to start on tuesday.Also another suggestion : should we take a day or two the actually read the script together?....
i'd really like that. what do you fellows thing

the father destroys the network

"as a part of the production machine, we are driven by the father like Hamlet, in his grief, is driven by his father's ghost. It is not what you want to do. You do it because it is embedded in the system/machine/place/social relations. You can go on doing it or you can become aware of it and reject it...it is the impetus of the father's ghost that destroys all. Valuing the father destroys the network." (my italics) Jane Castle and Linda Dement