AMLETO + DIE FORTINBRASMASCHINE is the rewriting of a rewriting.

At the end of the ’70s, Heiner Müller composed a text freely inspired by Shakespeare’s Hamlet.

Today, we try with a scenical writing freely based on Heiner Müller’s Die Hamletmaschine.

We do so by going back to Shakespeare, to Hamlet, with Fortinbras’ eyes, with Müller’s architecture, on a stage suspended between being and appearing. We entitle to Fortinbras our look into the contemporary, the hunting of the restlessness in the depths of our core to rewrite ourselves as wel, in a defining moment of our path. We allowed ourselves the luxury of being on the border, adrifting from our core. A derivation, maybe, to which we will look back in time, or that it is probably the fruit of a time that has already been our space for quite a while.

We keep Heiner Müller’s structure, chapters and environments, and on that we create a mechanism, a stage device, a carousel for tragedy and comedy to climb on together. Die Hamletmaschine serves both as model and inspiration: Family Album; The Europe of the women; Scherzo; Pest in Buda Battle of Greenland; Wildstraining, In the fearsome armaments, Millenia. We approach the power of its intention by regarding it as a classic of our time.

The meta-theatrical reflection and therefore the cultural and political one that has always attracted us -the theater's ability to address itself,  its own function, its own nature, for turning out in mutable forms -this is the voice  which  our sounds are meant to speak with.

Hamlet is a tragedy of orphans, protagonists and antagonists in a time when fathers are missing. Even Die Hamletmaschine, once a son, now became a father.

This has to do with our generation, from Pasolini onwards, with the distance measuring condition and evolution, with void and the very feeling it generates.

We are Fortinbras, son, foreigner, alien and survivor, and we come on the stage when all the rest is silence, asking: "Where is this sight?"

R. L.