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Ostermeier’s Hamlet relies heavily on the video-cam technique pioneered in Germany by Frank Castorf at the Volksbühne, but Ostermeier uses the camera quite differently. Whereas Castorf is interested in hidden spaces (the actors often perform in closed boxes on stage, their performance visible only by means of the live video feed projected on large screens onstage),
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The meaning Ostermeier offers us as recompense comes in the form of dirt: the entire stage is covered in a thick layer of earth, and the first real scene of the play is a burial pantomime in which a frantic gravedigger scuffles about at cartoonish speed to get a coffin singlehandedly lowered into its grave (with lots of slapstick pratfalls) as the play’s main protagonists look on in the rain produced by a hose held aloft. The scene lasts a painfully long time and is stunningly expressive. The gravedigger starts shoveling in the dirt before remembering that the first handfuls belong to the mourners—whereupon he hops into the grave to scoop it all out again. When a languishing Gertrude drops the delicate little mourners’ trowel into the grave along with the bit of earth it holds, the gravedigger offers the other mourners a full-sized shovel instead. Characters keep returning to this dirt throughout the performance, though not in the food-fight way that would have likely ensued if it had been Christoph Marthaler doing the directing. Ostermeier’s dirt has a solemnity, a gravity to it. Characters don’t throw it around, they eat it (Hamlet in particular). The first metaphorical use of the dirt comes early on, when Claudius is chiding bereft Hamlet for his ostensibly untoward despondency after his father’s death: Claudius embraces his unresponsive nephew, and the instant he releases him,
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Hamlet topples like a felled tree, face-first into the pile of dirt covering his father’s grave. This descent into dirt is what Ostermeier keeps bringing us back to—the reality of death and loss—and compared to this Claudius’s politic speech is just wind blowing by.
The actors in this production spend a lot of time face-down in things, mostly food, and generally when they show their faces afterward, they look like ghouls arisen from the dead. This Denmark is a ghost town. And although Hamlet tells Horatio (and us) quite clearly that he’s planning to feign madness, it’s hard to see this madness as make-believe. Eidinger’s performance is full of Tourette’s-like verbal tics and is utterly unsettling. When he strips down to act out the play The Mousetrap for king and queen—Hamlet and Horatio are the only performers in this staging—we see that the doughiness of his body is due to the fact that he’s wearing a heavily padded undergarment beneath his clothes. After playing the role of the queen wearing only black lace panties and thigh-high stockings, he climbs back into his fat-boy suit, asking one of the other actors to zip him up. One of the strongest scenes in the entire production is the pas de deux between Hamlet and Ophelia when Polonius forces their encounter. The scene shifts back and forth so quickly between tenderness and violence it’s truly frightening, and eventually he half-buries her.
Toward the middle of the play the pace starts to slow down, and I found myself wondering, as I watched Claudius (brilliantly played by Urs Jucker) contemplating aloud the vileness of his own fratricide, whether this entire scene couldn’t have been cut outright
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with no great loss of effect. Ostermeier has created an action-packed Hamlet in which psychological processes are so effectively translated into physical ones that the actual recitation of monologues seems almost irrelevant. Cutting out a startlingly large number of scenes is a strategy that worked beautifully for Ostermeier in his staging of A Midsummer Night’s Dream in 2006 (a co-production with choreographer Constanza Macras), and he would have done well to trim Shakespeare’s play more rigorously this time as well. Though two and a half hours is not at all long for a performance of Hamlet, given the density and compression of this staging, making it leaner by half an hour would have served the production well.