HAMLETMACHINE

Heiner Müller


Premiere date : 2018 September 

director/scenographer Artūras Areima | costume designer Artūras Areima | music πvideo designer πactors Petras Šimonis, Monika Poderytė 

WHAT IS THE POSSIBLE POSITION AND WHAT IS THE QUESTION OF THE COMMUNICATION CAPACITY DISCOURSE?

In the fragmentary Muller's eight-page text, the hero of Shakespeare's masterpiece fights to survive the ruins of literary and political history. The fallen ideals and frustration of people: in the play „Hamletmachine“ youth resists and fights with the past in order to change it‘s future. In order to break free from the never-ending history of violence, the past is being questioned and deconstructed. In "Hamletmachine" - the field of psychological narrative is bravely left, it creates the landscape of the revolutionary revolution.

The artistic challenges of the performance director Arturas Areima is to search for conscious forms to this sophisticated text, encourage the viewer to do the same - deliberately and rationally discussing the sociality and human self-awareness problems raised by the major socio-cultural transformations: a person after God's death is a person whose basic definition is not openness to God's infinity, but the ability to detect your limits. Sexuality and artistic creativity are some of the finest forms of limiting experience. Transgresion is not only the fixation of God's loss, but also the attribution of God as an inalienable power. Limit experience is the limitations of finiteness that results from the absence of a creature that is purified and thus actualizes it. Transgresion is the entry of the Western world into the boundary that binds him with what he rejects or pushes as his own stranger. Transgresion is the creation of a positive finite-world universe beyond the boundary that separates it from divine infinity.

In this context, sexuality is not a bridge, connecting us with the secular beast's world, it's a "craze”, but not the one which is isolating and isolating, but the one which transcribes us to the limit and as a limit introducing ourselves to ourselves.

This performance is an excellent opportunity for the young AAT theater troupe to understand the theater's position in the light of the changing aesthetic paradigms, as well as to grasp its role and mission in the epicenter of these paradigmatic changes.

"I'm not Hamlet ... My drama is gone." The more characters of the play are talking, the clearer is that they all inspire their own stories - distorting, provocative, intellectual jokes and an abundance of quotations. It all sounds like their rebellion, like hypothetical, virtual exercises with mental dolls. This work speaks to many levels of meaning, but one of Muller's main points of reference is the intellectual in the late modern age or postmodern, loaded with an infinite burden of consciousness / subconscious that Shakespeare could not imagine. The burden, according to the creative group of the forthcoming performance, is related to the huge baggage of "humanistic culture", such as the myths of the humanitarian community about "death of the author" and "drama death", for example. That's where the "Hamletmachine" really rises above (auto) irony.

OUR INSOMNIA IS FOR THE ATTENTION

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