Estreia

“HAMLET LIGHT” de Vvoitek Ziemilski
FINALISTA DO PROJECTO JOVENS ARTISTAS JOVENS

É por escolhermos o cinema sobre o teatro 9 vezes em 10.
É por ficarmos sempre com esperança dessa décima vez.
É por amarmos Shakespeare. É por não aguentarmos Shakespeare.
É porque o pai dizia: despacha-te devagar.
É por sede de ter algo no fim.
É por pura curiosidade, se dava.
É por de repente ficarmos todos convencidos que até é capaz de dar.
É por gostar da superfície.
É pela combinação de fartura e entusiasmo.
É teatro puro e duro.
É consumível.
É light. Menos calorias. Um sabor ainda melhor.


Não será preciso esquecer o teatro para gostar dele? Esquecer que estamos no teatro, esquecer como funciona? E se então “esquecêssemos” a ideia de espectáculo, concentrando-nos meramente na sua publicidade? Se em vez da peça, os espectadores vissem a criação de um trailer de um espectáculo? O que fica? Qual será a nova escala de possibilidades?

Hamlet Light, de Vvoitek Ziemilski, foi um dos três trabalhos vencedores do projecto Jovens Artistas Jovens, que decorreu durante o ano de 2006, com o envolvimento de várias estruturas a nível nacional. Este projecto teve como objectivo conhecer a situação dos jovens criadores no território nacional, permitindo que os 3 trabalhos seleccionados pudessem ter o apoio das estruturas envolvidas no sentido de poderem produzir, e apresentar os respectivos espectáculos ao público.

Depois de um período de residência artística repartido entre o Espaço do Tempo, em Montemor-o-Novo, O CENTA, em Vila Velha de Ródão, e o CAPA, em Faro, Hamlet Light vê finalmente a sua estreia absoluta no Teatro das Figuras ( Dia 15 de Setembro, 22h). O Teatro Municipal de Faro além de ser uma das estruturas envolvidas no projecto Jovens Artistas Jovens, integrou também o Observatório Crítico responsável pela selecção dos 3 trabalhos finalistas.


Photographia de cena: Susana Jesus

It’s because 9 out of 10 times we choose the cinema over theatre.
It’s because we keep on hoping for that tenth time.
It’s because we love Shakespeare. It’s because we can’t stand Shakespeare.
It’s because father said: hurry up slowly.
It’s because we dream of something at the end.
It’s out of sheer curiosity, whether it could be done.
It’s because we suddenly became convinced that it just might.
It’s because we enjoy the surface.
It’s because of the combination of plenty and enthusiasm.
It’s as theatre as it gets.
It’s consumable.
It’s light. Fewer calories for an ever better taste.

In order to enjoy theatre, shouldn’t we forget it? Forget that we’re inside a theatre, forget how it works? How about if we just forgot the whole idea of a production and simply focused on how to advertise it? If Instead of the play the audience saw the creation of a play’s trailer? What would remain? What would the new scale of possibilities be?


Vvoitek Ziemilski’s “Hamlet Light” was one of the three awarded proposals at the three awarded proposals at the Young Artists project that took place in 2006, with the sponsorship of several national organizations. The Project’s purpose was to recognize the situation of the young national artists allowing the 3 awarded projects to be produced and presented before live audiences. After being presented in Espaço do Tempo, in Montemor-o-Novo, O CENTA, in Vila Velha de Rodão, and in CAPA, in Faro, Hamlet Light finally has his absolute première in Teatro das Figuras. The Teatro Municipal de Faro apart from being one of the organizations involved in the Project Young Artists has also integrated the Critical Observatory responsible for the selection of the 3 awarded projects.

A review

We Have Artists
The Jovens Artistas Jovens program reveals three young creators of performing arts
«[During the showing of the productions which won the contest for Young Portuguese Artists]...there were real motives for enthusiasm. Above all, enthusiasm for the boldness, imagination, pertinence, intelligence and sensibility of Vvoitek, who combines the logic, strategies and narratives of classical theatre, contemporary theatre, cinema, publicity. Although the play is not without flaws (mainly caused by the disproportion between the enormous size of the project and the means it had available) this is the contest’s clear revelation of a new creator.» - Claudia Galhós, Expresso, 5 October

This nothing's more than matter.


Este nada é mais que substância.


- Laertes, 4.5

The Exhibition

Rehearsal Tubes, an exhibition by Verónica Conte, is a staging of the events that happened during Hamlet Light sets preparation and that weren’t shown before the audiences. Embracing the “light” spirit of the play, the staging of two expositive moments will be displayed in Mercado Municipal.

Moment 1
Ophelia: My lord, I have remembrances of yours that I have longed long to re-deliver. I pray you, now receive them.
Hamlet: No, not I! I never gave you aught.

Moment 2
King: Laertes, was your father dear to you?

These moments allow us into a short voyage searching, not so much the essence of the scenes but rather another kind of perspective, a new space, a different experience. Tensions appear between the scale of the objects and their power, between their apparent innocence and the violence of the universe that brought them about.

A Exposição

Tubos de Ensaios, um exposição por Verónica Conte, é uma proposta para ver o que surgiu no decorrer do trabalho cenográfico da peça Hamlet Light, mas que esta não ousou mostrar. Abraçando o espírito “light” da peça, apresentam-se no Mercado Municipal, entre os dias 12 e 18 de Setembro, dois Momentos expositivos.

Momento 1
Ofélia: Senhor, tenho lembranças vossas que há muito vos queria devolver.
Hamlet: Não eu nunca vos dei nada.

Momento 2
Rei: Amavas o teu pai Laertes?

Estes momentos permitem-nos uma curta viagem buscando não tanto a essência das cenas do espectáculo, mas antes uma outra interpretação, um novo lugar, uma nova envolvência. São criadas tensões entre a escala dos objectos e a sua força, entre a sua inocência aparente e a violência do universo de onde surgem.

I have no idea why this appears blue. The original image is yellow.

Elizabethan Play

There is a round building three stories high, in which are kept about a hundred large English dogs, with separate wooden kennels for each of them. These dogs were made to fight singly with three bears, the second bear being larger than the first and the third larger than the second. After this a horse was brought in and chased by the dogs, and at last a bull, who defended himself bravely. The next was that a number of men and women came forward from a separate compartment, dancing, conversing and fighting with each other: also a man who threw some white bread among the crowd, that scrambled for it. Right over the middle of the place a rose was fixed, this rose being set on fire by a rocket: suddenly lots of apples and pears fell out of it down upon the people standing below. Whilst the people were scrambling for the apples, some rockets were made to fall down upon them out of the rose, which caused a great fright but amused the spectators. After this, rockets and other fireworks came flying out of all corners, and that was the end of the play.

- account of a Southwark performance in 1584, as cited by Elizabethan Stage, by E.K.Chambers.

Polonius
...such wanton, wild, and usual slips
As are companions noted and most loved
To youth and liberty.
Reynaldo
As gaming, my lord?
Polonius
Ay, or drinking, fencing swearing, quarrelling,
Drabbing.


Polónio
...os loucos e fúteis desatinos,
Que são os conhecidos companheiros
Da livre mocidade.
Reinaldo
Como jogar, meu senhor?
Polónio
Sim. Ou beber, lutar, praguejar... Pancada, mulherio.


- Polonius /Laertes, II.1

This is too long.

Isto está comprido de mais.

- Polonius, 2, 2

He's for a jig or a tale of bawdry, or he sleeps.

Para este é preciso dançar a jiga ou contar uma história porca senão dorme!



- Hamlet, 2.2

Is it not monstrous this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in his aspect,
A broken voice, and his whole function suiting
With forms to his conceit? And all for nothing!


Não é monstruoso que um actor deses
Em ficção apenas, em paixão fingida,
Possa forçar a alma e todo o seu pensar
De modo a transformar o próprio rosto,
Chorar e mudar tanto de aspecto
Em voz partida e cada gesto adequar
A seu bel-prazer às formas inventadas?
E tudo por nada!

- Hamlet, 2.2

More matter with less art. - Queen, Hamlet, Act II, Scene 2

Menos arte e mais assunto, por favor! - Rainha, Hamlet, Acto II, Scena 2