true modern

The exaggerated facial expressions and dashing body language of this Hamlet are reminiscent of Geek in disguise. . . . . Such a Hamlet is in great contrast to all the characters in the court. It is, so to speak, a full-blown satire of American-style hearty English gentlemen. It's not a problem to talk about my father-in-law, Claudius, Joe Trud, and even the tricks of the game, all of them are full of nonsense. Interestingly, Hamlet not only speaks in such a pedantic manner before pretending to be crazy, but also in the part where he accidentally killed Polonius and his mother, and his words are also very "gentle". It can be said that in this play, the director is not focusing on Hamlet's inner struggle and suffering, but the effect of the collision between different subjects and different voices. Perhaps this is the distinction between classical and modern.

It was the first time I saw such a movie with a sense of theatrical drama, and it felt funny and couldn't complain. Various modern and even post-modern techniques (such as surveillance cameras) make this classic more possible. If the camera and the like are a bit convoluted, the troupe (circus?!) that came out in the middle fully demonstrated the charm of the stage and acting skills - the drama within the play made the world-class acting skills of the Royal British Theatre Company useful. I have to say, the part where the uncle in the troupe gave Hamlet a drill like a storyteller is so charming! What's more worth noting is that this seasoned and respectable old actor, together with his father-in-law, who has become lovely, has made the image of the British gentleman, who was constantly mocked in the early stage, reversed and radiated a simple and honest light. I think that's the biggest highlight of the show.

Another thing worth paying attention to in this play is the mix of various time coordinates. Some people may complain that modern props spoil the classical atmosphere: modern suits and leather shoes, objects in the court, pistols, the sound of helicopters, surveillance cameras with smooth and reflective floors... so that the audience can never associate the plot with any history. But what if the modernization of this prop was intentional? Was it really because the crew couldn't restore the medieval or earlier costumes and sets?

Thus, Hamlet is reinterpreted as a myth of a new kind: it is neither distant nor present. It could neither have happened around us nor long long ago. Not only time, if we observe carefully, we will find that the space of this play also presents the same state as time: although they keep claiming that this is Denmark and that is England. The absence of time and space coordinates makes both time and space "gelled". This is why from start to finish, the audience will always feel that this is a drama, not a movie. At least on the issue of time and space, film and stage play have always been incompatible. But the director of this play has geniusly integrated many film techniques into the performance of the stage play, without changing the essence of the play. It has to be said that the director performed admirably between defending the original work and integrating into the modern.

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