deceit continues in Hamlet

Hamlet en Gertrude

Kees Roorda en Cees Krijnen spelen in de Serie Nieuwe Theatermakers het stuk ‘Hamlet en Gertrude’. Wat is waanzin, is de centrale vraag van de theatermaker Roorda en beeldend kunstenaar Krijnen. ‘Hamlet en Gertrude’ is een gevecht tussen Cees Krijnen, het personage Hamlet, zijn loyaliteit aan z’n moeder en het grote verraad. In een therapeutische sessie legt Cees Krijnen zichzelf op het pijnbankje van z’n jeugd. Gezondheidszorgpsycholoog Henri van Tiburg zorgt voor de deskundige begeleiding en probeert orde te brengen in Hamlet z’n hersenlabyrint. Een hypnosesessie moet uitkomst brengen. In de Serie Nieuwe Theatermakers zijn gloednieuwe voorstellingen te zien van de jonge garde theatermakers.
Zie ook http://www.serienieuwetheatermakers.nl
(‘Hamlet en Gertrude’, Chassé Theater, Breda, donderdag 16 februari, aanvang 20.30 uur).

Hamelt the deciet continues

Hamlet en Gertrude

Kees Roorda en Cees Krijnen spelen in de Serie Nieuwe Theatermakers het stuk ‘Hamlet en Gertrude’. Wat is waanzin, is de centrale vraag van de theatermaker Roorda en beeldend kunstenaar Krijnen. ‘Hamlet en Gertrude’ is een gevecht tussen Cees Krijnen, het personage Hamlet, zijn loyaliteit aan z’n moeder en het grote verraad. In een therapeutische sessie legt Cees Krijnen zichzelf op het pijnbankje van z’n jeugd. Gezondheidszorgpsycholoog Henri van Tiburg zorgt voor de deskundige begeleiding en probeert orde te brengen in Hamlet z’n hersenlabyrint. Een hypnosesessie moet uitkomst brengen. In de Serie Nieuwe Theatermakers zijn gloednieuwe voorstellingen te zien van de jonge garde theatermakers.
Zie ook http://www.serienieuwetheatermakers.nl
(‘Hamlet en Gertrude’, Chassé Theater, Breda, donderdag 16 februari, aanvang 20.30 uur).

hamlet the deciet continues

http://www.serienieuwetheatermakers.nl/

what would the community think...

"In the end we forget everything, anyway. We're human; we're amnesia machines."
Subliminal.

A decision is made then the next day or so the entire conversation happens again as if no one remembers.
I hope the play is necessarily re-written through the vocal, bodily, spatial practices of the actors and the rest of the performance / technical team. Theatre is, and always has been profoundly and necessarily heteroglossic,
even though the prism of the dominant paradigm has led us to see it as the product of one voice (traditionally that of the writer, more recently the director). It was surely the effect of that prism and ignorance of actors creative processes
that led Bakhtin to claim that the theatre was monologic, for I would argue that the relation between text and performance in text-based theatre is fundamentally, paradigmatically dialogic. That is to say that the performance is a 'structure in
relation to another structure', which is Kristeva's definition of the dialogic.

more questions

Hamlet The play is specifically about you. Do you think you would be interested in being in a play that wasn't?

Has theatre emotionally scarred you?

How important is sex to you and your work?

What is it that you are getting out of making theatre?

Isn't autobiography the best form of fiction?

Do you think it is it justified to expose others for the sake of your art?

What makes you feel beautiful?

What are the primary objectives when you dress?

Farewell my ladies, good night.

Today is our last working day in cees studio in haarlem.
From very intense and concentrated moments...

...dramatic and pathetic scenes...

...we went on to jollier situations.


Pretty soon we are heading for the FRASCATI and the COUCH.

The following starting situation is given

The following starting situation is given: our
audience is coming in, we assume that they just saw
our performance of the hamlet piece and now they are
witnessing the talk after. the credits (aftiteling) is
running on screen on the background. nancy/ophelia
starts a serious dance solo (6 min), then we jump into
the talkshow. (we are already sitting there during the
dance, watching nancy)

roles: interviewer: saskia, director: kees, hamlet:
cees, mother gertrud: cees mother, ophelia: nancy,
dramaturg: nicola, life sound manipulation: alison.
first only kees and cees are sitting on the
interviewcouch to keep the talk concentrated on them.
then ophelia, and mother comes. how and when we still
have to discuss and find out.

QUESTIONS

Possible categories:
- within/about the play
- personal questions
- questions about theatre/aesthetics/about the
opdracht and year 3000
- questions regarding daily life

- within/about the play
(death, son-mother relationship, guilt, female versus
male roles)
- Do you have a working method? (topics like hypnosis
will be touched)
- How did you prepare yourself for the play?
- How do you remember all those lines?
- Is Hamlet, the play, teaching us something, is there
a moral in the text?
- What is the most important scene for you in the
piece - the most important text/line?
- Can hate/ a negative feeling like revenge/ produce a
hope/a positive feeling?
- what is the role of women in that play?
- If Hamlet is not mad, how is it possible that he
sees his father's ghost - and his mother does not?
- what is a ghost?
- Is the play religious?
- When will Hamlet be outdated?
- Will Hamlet still be played in the year 3000?
- Is theatre related to a Zeitgeist? Is Hamlet related
to a Zeitgeist?

- questions about theatre/aesthetics
- what is your ideal audience?
- What is the relationship between failure and your
work?
- What does theatre mean to you?
- You have just been a test bunny for a post-academic
institute and experienced with so called horizontal
working - shared responsibility among 5 artists for
one piece. Have you had such an experience before and
is such a working method valid to you? Or is it just
putting water into each others concepts and blocking
energies?

- personal questions
death
- Do you hope for a life after death?
- Why do dying people never cry?
- Are you afraid of death and why?
- do you believe in a preset destiny?
- How do you experience time? What is your concept of
time?

women/men
- Do you feel sorry for women? / Do you pity women?
And why?
- What is being male for you?
- Would you like to be a woman?
- Are you bewildered by a smart lesbian?
- who invented the castration complex?

- Do you think you have humor? Describe it.
- Can you feel Blutsverwandschaft? (compared to for
example Seelenverwandschaft)
- What did you inherit from your parents?/ What did
you pass on to your children? (a question for kees
+mother)

- questions regarding daily life
- How much costs a pound of butter nowadays?

Alexandre Dumas: Shakespeare is the poet who created
most after God.

ophelia's song perhaps

ophelia often undermines the 'everyday banal' form of the talk show by breaking into song or dance

an example of a way of working a song in with the talk show

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?