In a rusty smith -metaphor of a dysfunctional Elsinor or the metastasis of a nation-, all characters play their original roles assigned by the Bard, but rarefied by a language that betrays their actions. It would seem that saying achieves more than doing. Argentina’s history leaks all over the Elizabethan drama. The tragedy of generations massacred by paternal mandate disguises itself under epochal costumes, while at the same time it strips off. In its nakedness, the Malvinas emerge as the English islands to which Hamlet is sent to be killed by a cheap whiskey smelling drunken father, while the people acclaims him. Which king is worse, Hamet I or Claudius? The staging of Luis Cano’s text deals with one of the many aspects of Shakespearean poetics: theater within theater, or the world as stage (totus mundus agit histrionem) as the strategy to unmask the king, the actual boss -the audience-, in order to question their taste, their convictions and judgments about theater itself.

With
MARICEL ALVAREZ
GUILLERMO ANGELELLI
GUILLERMO ARENGO
BLAS ARRESE IGOR
GABO CORREA
RICARDO DÍAZ MOURELLE
LEÓN DOGODNY
LUIS HERRERA
NORBERTO LAINO
MARTA LUBOS
HORACIO MARASSI
OSMAR NÚÑEZ
FERNANDO RUBIO
MARCELO SUBIOTTO

Musicians on stage
ZELMAR GARÍN
CLAUDIO KOREMBLIT
MARTÍN TERENTE

Text
LUIS CANO
Production
COMPLEJO TEATRAL DE BUENOS AIRES
Assistant to the director
MIGUEL GARZÓN
ANA MARÍA CONVERTI
Artistic assistance
EZEQUIEL STEINMAN
JULIETA MARÍA POTENZE
Choreography
FELICITAS LUNA
Original music
GRUPO EXPERIMENTA
Set
NORBERTO LAINO
Costumes
MIRTA LIÑEIRO
Lighting
ALEJANDRO LE ROUX
Directed by
EMILIO GARCÍA WEHBI


Teatro Sarmiento, Complejo Teatral de Buenos Aires, Argentina, 2004.

Fotos Carlos Furman, Alejandro le Roux