|Length / Year:||90’, 2016 (Italian premiere)|
|Concept, text, direction:||Boris Nikitin|
|Baroque Ensemble:||Der musikalische Garten|
|Sound design:||Adolfina Fuck|
|Video:||Georg Lendorff, Kai Mayer|
|Set design and costumes:||Nadia Fistarol|
|Lighting design:||Benjamin Hauser|
|Technical directors:||Anahi Perez and Benny Hauser|
|Production management:||Annett Hardegen|
|Produced by:||It’s The Real Thing Studios|
|Commissioned by:||Kaserne Basel, Gessnerallee Zürich, La Vilette Paris, Onassis Center Athens, Ringlokschuppen Ruhr, Münchner Kammerspiele, HAU - Hebbel am Ufer Berlin|
|With the support from:||Theatre/Dance Committee of the Cantons of Basel-Land and Basel-Stadt, Ernst Göhner Foundation, Pro Helvetia, Migros Kulturprozent, Kunststiftung NRW|
Boris Nikitin - Hamlet
“This is not a theatre production. It is not even a performance. This is not a concert. This is not real life. And this is not reality” states Julia*n Meding, a performer and electronic musician, in the opening scene, appearing as a modern-day Hamlet who rebels against reality. Written and directed by Boris Nikitin, Hamlet does not adapt Shakespeare’s play but claims it.
Nikitin writes: “We make reference to the original, but this is a completely new work… We use Hamlet to bring into play the ideas of reality, illusion, health, sickness”. Accompanied by the award-winning string quartet Der Musikalische Garten in a performance that merges punk-queer musical theatre with documentarism, the protagonist is involved in a tour de force in which he lays himself, his body and his biography bare before the eyes of the public. Is it Hamlet? Or is it even Meding? Or is it all just a game?