Amleto2 - Filippo Timi

Filippo Timi presents a new edition of his Hamlet, a reinterpretation where every gesture or word becomes a game and a personal voice, an intelligent provocation. Timi takes the Shakespearean text and distorts it, overturning passions and characters in the same circus cage within which this praise of madness takes place. His Hamlet is a bored one, no longer willing to play the usual family tune, no longer willing to love Ophelia, no longer willing to do anything. In vain, voices offstage call him to his destiny. Almost like a caged lion, the prince, part spoiled child, part visionary bard, roams amidst a mournful celebration. Around him, characters directly sprung from his insane mind, portrayed by the historic actresses of his company, once again exceptionally together to bring this new edition to life. As the philosopher Lorenzo Chiuchiù writes, Timi inscribes Hamlet's destiny in a dimension outside history: "the words we tell each other are words learned by heart" – Hamlet says to Ophelia; or "The theater is the trap with which I will catch the conscience" because only in fiction is there consciousness.

For Filippo Timi, it is precisely Hamlet that opens that dangerous breach where the dead demand something from the living, when missed or past loves tear apart the current ones, when purity sinks without witnesses. Faced with reality, faced with certain irrevocable events, the heart and mind go mad, needing to find escapes in order not to suffer. Is laughter the consciousness' response to tragedy? Laughing at tears. Laughing at death. Laughing at abandonment. Laughing at betrayal. Laughing at madness.

A bewildering, comic, furious, mad, and colorful Hamlet. When faced with tragedy, there are two possibilities: succumb or explode with the utmost vitality. Timi has chosen the latter, transforming tragedy into comedy, between power and oblivion, between frivolity and madness; thus amplifying the comedic roots of Shakespeare, which prompted Nietzsche to say: "I know of no more distressing reading than Shakespeare: what must a man have suffered to need so badly to play the clown."
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