Hamlet private continues...

The new year starts with more performances of Hamlet private...

On 7., 8., 11., 14., 15., 18., 21., 22. and 23.1.2013 Cécile Orblin makes Hamlet again private. What is your private Hamlet?

Read more about the performance in Maria Säkö's review on skenet.fi or in my English translation below.
Reservations can be made by mail (gnabcollective@gmail.com) or phone (+358 44 910 32 86). 




Hamlet private is an individual experience 
by Maria Säkö, www.skenet.fi 13.12.2012 

Hamlet private
Gnab Collective
Café Talo (Hämeentie 2 B)
Performances: 12.–15.12.2012, continue in January
Working Group: Cécile Orblin, Martina Marti, Marion Maisano, Jaana Eskola, Jukka-Pekka Pajunen
Written and directed by: Martina Marti
Visual design: Marion Maisano
Actress: Cécile Orblin 

What is it like to be confronted with the same big questions as Shakespeare's Hamlet? In half an hour Gnab Collective's Hamlet private turns the spectator into Hamlet.

The international, independent, collectively working Gnab Collective has previously made two projects, BANG! in summer 2009 and The Best of YouTube in 2010.

Now actress Cécile Orblin guides one spectator at a time to find out where his or her life overlaps with that of Hamlet. She does this with the help of cards showing significant moments from the play Hamlet.

Hamlet private takes place in Café Talo in Hakaniemi where nothing is undertaken to make the encounter between the actress and the spectator particularly peaceful. Everyday life and its sounds strongly intrude the encounter which is natural and attempted to be rid of all kind of exclusive mysticism.

On the cards appears actress Orblin in different situations depicting themes from Hamlet. The cards show amongst others "the hero", "the ghost", "the undiscovered country", "the blind eye", "the players" and "the friend". All together 21 different highlights cover all known critical moments in Hamlet.

Orblin doesn't give the impression of a traditional performer, but is rather some kind of a guide or fortune teller. But then again, isn't acting at its strongest and most impressive exactly that? At best the actor opens in the spectator a stream of feelings and thoughts. Of course the actor's work is also present in the cards where Orblin performs and which reveal very well Orblin's physically charged and expressive acting.

Even though I know Orblin is an actress and not a fortune teller, I gladly join in on the Hamlet game, because the emphatic Orblin, who relates severely to life's fundamental questions, seems sincerely interested in how I should lead my life and what kind of strengths and pitfalls I might have.

To the randomly chosen cards for past, present and future are added a card each for trust and strength. Orblin interprets the questions and different personality traits represented by the cards.

However, the cards don't only interpret the spectator but also create an interpretation of Hamlet. So the spectator can also dive as it were into the mind of the artist by seeing how the classic is interpreted from the standpoint of our own interior world.

Hamlet's questions about speaking the truth, misunderstanding, duty and love are interpreted each time afresh in the random order of the chosen cards but Hamlet, which has borrowed from many styles itself, tolerates this.

Fortune telling has been previously practiced with Tarot cards at least by Marita Liulia. Also in new circus one has gotten used to all kinds of trickery. The non-dramatic and somewhat therapeutic nature of the encounter brings to mind some of Reality Research Center's experimental, the recipient personally involving performances.  At the same time Hamlet private conceptually, even though of course not in terms of how it is realised, brings to mind adaptations of classics like Hamletmachine.

Most often it is particularly in school projects that classics are broken down to their topics and varied,  which is a shame because interpretations of classics by professional theatres could get spiced up a great deal if they brought the topics without any inhibitions closer to the present reality of the performers and spectators.

Hamlet which tells on so many levels about life as theatre and theatre as life suits superbly as material for the spectator, together with the actor, to test his or her own everyday roles and masks as well as to dive into underlying questions.

The card reading holds many ingredients of very fundamental drama pedagogy. I belief that the concept could be developed - for example by taking the space into special consideration.

You can continue your own immersion into Hamlet's topics by buying the cards for yourself or why not with a ticket for the performance as a Christmas present for someone else.


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