Hamlet and Three Eyes, a Shakespeare play by three directors

The text of “Hamlet”, the longest and most advanced of Shakespeare’s texts on the stage of the world, has attracted the attention of dozens of Arab directors, who have presented it with different visions and points of view that can sometimes contradict each other. , this text inspired many writers who reformulated it, with different approaches, Each from his point of view, and they differed in some of his original course, including Najib Surur, Mamdouh Adwan, Jawad Al-Asadi, Gerard Avedisian, Khazal Al- Majidi, and finally Sameh Mahran.

The nature of this text offered a wide space to all who dealt with it, with awareness and understanding of its various interpretations politically, philosophically, psychologically and socially, to represent their views and visions, and allowed its directors to present it, in writing and directing, in postmodern forms, because of the text’s richness and inexhaustible energy.It eventually loses its luster. It is the secret of his genius that has made him a destination for all genders and tendencies.

Direction workshop

At the Cairo Creativity Center, under the supervision of director Khaled Galal, director Essam El-Sayed held a theater directing workshop for the third group of the talent studio, the product of which was the performance “Hamlet and Three Eyes”. The three eyes here mean three views of three new directors trained in the workshop, so that each of them “Hamlet” in his own way, and from his own point of view, after several readings of the text, analysis and discussion about it with the coach.

There’s no doubt that it’s an adventure to reckon with director Essam El-Sayed, for three directors to present one text, from different points of view, and in one continuous, separate show, especially since the show is very was disciplined and was able to present different intellectual and aesthetic visions, which provided much pleasure. And it did not cease to be a graduation program for new directors who could be content with presenting a few scenes emphasizing the abilities of these directors, but the challenge here was not only in dealing with one text by three points of view, but also in how to formulate it all in one braid that Scenes do not feel with it, with sudden transitions or intervals that confuse him and spoil his viewing pleasure.

three parts

The performance came in three parts, all of which lasted only fifty minutes. We did not see “Hamlet” in full, although the first part summarized the text and brought it close to the audience to place it in the atmosphere of the original work. . Each director cut out a section of the text in which he expressed his point of view and highlighted his directing skills that he had learned. In the third and final part, one of them even had “Hamlet” as a background just for a love story between a young university man and his colleague, reflecting through him the idea of ​​an unwilling Hamlet.

And because it was a show to highlight the abilities of the students, the directors did not keep them busy with the decor, and the hall of the creativity center remained completely bare except for some tools used when needed. , such as small stands and some seats. Nothing else can be considered decoration in the literal sense, and if the viewer does not feel that there is a shortage, the nature of the stage of the creativity center itself does not need blocks of any kind, and some motives or simple tools can be satisfied to serve the purpose. The lighting element remained important and essential (designed by Mahmoud Tantawi) in shaping the theatrical image, and highlighting the actors’ emotions in a way that allows the meaning or significance of this scene or that.

classical interaction

The first vision was presented by director Mohamed Kasban, who dealt with “Hamlet” in the same classic way, and perhaps the aim here is to connect the audience to the show first and introduce it to the story. He quickly recounted through seven actors: Ziad Zaatar, Muhammad Hafez, Rehab Essam, Khaled Ibrahim, Emile Taleb, Merritt Lewis and Amr Bahi the conflict that took place between “Hamlet” on the one hand, and his mother and uncle on the other, after seeing Hamlet, the ghost of his father, repeatedly asks him to avenge his murder. Hamlet realizes that his mother and uncle are behind the murder of his father, especially since his uncle seized the throne and married his mother. as the tragedy of his beloved Ophelia.

In addition to the director’s desire to introduce the audience to the story first, and to demonstrate his ability to reinforce the text without flaws, he demonstrates skill in handling the text in a classical way, showing sobriety, discipline and characters include, on the fact that he gained directing experiences as a result of the workshop, and his ability to draw the movement of the actors and direct them to the essence The text, the nature of his characters and their motives, which in their execution of this scene is reflected.

overlap with text

This opening segment places the audience in the atmosphere of the original Hamlet, then the show moves seamlessly to the second vision presented by director Islam El Shaer with six actors: Ramy Abdel Maqsoud, Mahmoud El Faramawy, Rehab Essam, Mohamed Hassan, Mohamed Hafez and Nahla Kamal. In this part, the director edited his imagination, and mixed in with the original text and made some changes and additions to it, through the scene “The Mouse Trap” presented by the group of actors who used “Hamlet” to plot of his mother and uncle, and distinguishes their reactions to the scene, that this scene It was submitted with more than one proposal After the group submitted Hamlet’s proposal, which refers to the conspiracy of the mother and uncle, the two become upset and claim the band submits another proposal that proves the father’s suicide, not his murder, and threatens the group with execution if they do not comply with their claim. The group responds and presents a scene that refers to the father’s suicide, but is again exposed to the threat of “Hamlet”, which forces it to present a third scene in which it alternates between murder and suicide, and the artists here turn into a game in the hands of power, or in a more precise sense, to “Aragozat” in an attempt to satisfy the authority, even at the expense of the truth or what is believed to be the truth . These three scenes are presented in a comic form, in which he explains the depth with which the director dealt with “Hamlet”, to present a new view related to the suppression of power, on the one hand, and the artist’s humiliation in before his demands on the other side.

Hamlet in the background

Unlike the previous two visions, the third eye came to director Mohamed Magdy, who played alongside Mohamed Magdy Kamba and Nahla Kamal. Hamlet is here in the background, and we did not talk about the original story. We are in the modern era, a young man and a girl, university students, meet in a cafe, so the young man explains to the girl the story of “Hamlet” that is scheduled for her in the classroom, and at the same time is he loves her, but Hamlet’s hesitation withdraws from his relationship with her, and he can not express his love for her, as if we were here in the process of repeating or a recent interview with the original story, in ‘ a good and intelligent use of the original text, and a reference to the director’s freedom to handle classical texts and discover new energy in them.

read more

This section contains related articles, placed in the Related nodes field.

“Hamlet and Three Eyes” was not only a show to dedicate three new directors, but it also went further to entertain its viewers intellectually and visually. He stressed the importance of controversy with the text of “Hamlet” and other classical texts, and dealing with it with more freedom, more imagination, and experimentation without distorting the original text, or erasing its features altogether.

Leave a Comment