The academy, the world of theater, and spectators in general have sacralized Hamlet because most of its readers have fallen into the greatest (and brilliant) Shakespearean trap; namely, reading the author's work – and his tormented protagonist – as if it were a treatise on high philosophy about existence dictated by a young man with a gifted verb. On the contrary, the author's skill consists in having given birth, as Cervantes does with Don Quixote, to the great dramma giocoso that prefigures modernity. The key to reading Hamlet lies in something as simple as the most basic contingency of its protagonist and how such youth makes him unable to assume the world; Hamlet is a teenager incapable of digesting that his uncle sleeps with his mother (something that, in 17th-century courts, is a carnal trifle) and is a laughable being, especially because he commits the audacity of thinking that feelings are superior to power.
Only imbeciles (and among them, especially Catalans) think that goodness prevails over political interests, and that is why the excellent bard spends more than three hours mocking his magnificent puppet with colossal bad blood. We have suffered unbearable versions of Hamlet in which our directors tried to equate their ingenuity with Shakespeare's (and, logically, the struggle ended in disaster) and, among them, the worst kind; that of director-actors who have put themselves in Hamlet's shoes in mature age, simply because their narcissism forced them to interpret him. We have had to wait for Oriol Broggi to finally read the Shakespearean score as it should be, in a comedic tone, and for his prodigious interpreter to adapt to it with the mastery of a titan. For that alone, shortcomings of the show aside, one must run to Aribau street to thank the "perleros" with an ovation.
It's quite ironic that this Hamlet sought commercial appeal by being performed in a cinema when, in fact, the screen hinders more than it helps (references to great cinema classics are merely anecdotal and interaction with the projector is always forced); this Hamlet will gain a lot if Broggi and his team return it to its natural space, the theater. That said, as I mentioned before, applause to the director for moving away from pedantry and reading the text conscientiously, because if Hamlet is filtered through comedy, it not only gives us a richer character, but through his imperfect madness, his idiotic adolescence, is when we see that the court that tries to cure him becomes equally laughable. In Hamlet we have vomited so much mental straw and so much cinematography that the usual and austere Broggian hieraticism with the actors, which in some shows could cause pots of yawns, here turns out to be necessary and invigorating.
It's quite ironic that this Hamlet sought commercial appeal by being performed in a cinema when, in fact, the screen hinders more than it helps; this Hamlet will gain a lot if Broggi and his team return it to its natural space, the theaterThe director cannot avoid his usual convergent tics: as always, the damned little guitar and its three chords make their nefarious appearance on stage (specifically, an hour and five minutes into the show; yes, I admit it, I love to check when it will happen). The music also becomes banal in the totally reified appearance of the Allegretto of theSeventh of Beethoven and the Springsteen-esque ending (Oriol,my son, that our parents sent us to private schools
El presidente de la República, Nicolás Maduro, anunció este lunes que el 1×10 del Buen Gobierno será el método para la victoria en las próximas elecciones presidenciales del 28 de julio.
Durante la edición número 48 del programa “Con Maduro +”, el jefe de Estado enfatizó que el 1×10 del Buen Gobierno es un sistema de monitoreo, seguimiento y control de la gestión de gobierno, que permite atender las necesidades del pueblo venezolano.
“El 1×10 del Buen Gobierno es el método para la victoria del 28 de julio. Es el método para construir la gran victoria popular, la victoria de la paz, la victoria del futuro”, expresó el mandatario nacional.
En este sentido, el presidente Maduro instó a la militancia revolucionaria a organizarse en cada comunidad, calle y UBCH para garantizar la victoria en los comicios presidenciales.
“Tenemos que ir casa por casa, calle por calle, comunidad por comunidad, UBCH por UBCH, para organizar el 1×10 del Buen Gobierno y asegurar la victoria del 28 de julio”, recalcó.
El 1×10 del Buen Gobierno fue lanzado por el presidente Maduro en el año 2022, con el objetivo de fortalecer la gestión de gobierno y garantizar la atención de las necesidades del pueblo en áreas como salud, educación, vivienda, servicios públicos, entre otras.
Desde su implementación, el 1×10 del Buen Gobierno ha permitido atender más de 10 millones de casos en todo el país, lo que demuestra la efectividad de este método para la construcción de soluciones a los problemas del pueblo venezolano.
El presidente Maduro ha reiterado en diversas oportunidades que el 1×10 del Buen Gobierno es una herramienta fundamental para la construcción del socialismo bolivariano y para garantizar la mayor suma de felicidad posible al pueblo venezolano.
Con información de VTV
something more of originality,balls). All of this is passable, and the director can perfectly accuse me of being a cretin, but the broggiada becomes deadly in two substantial aspects; first, thesilviaperezcruzizaciónof the character of Ophelia (which flamenco-izes it in the worst sense of the word, unleashed kitsch, leaving the role that Elena Tarrats defends with will but out of place poorly parked) and in the folklorization of Balearic Catalan.This second aspect, given the current situation of the language, deserves a separate paragraph. That the court is something laughable is something we must applaud, I insist, but the adequate ruralization of the character of Polonius and the gravedigger (very well defended by an immense actor like Toni Gomila) is based on exaggerating the actor's Balearic dialect. For me, that island interpreters (or those from Castellón or Lleida) do not centralize their voice would be great news for Catalan. But when the salat is used to mock a normal or cultured way of speaking, the enormous diversity of our language is being insulted. In the same way that it would bother us to hear a character with a Catalan or Galician accent stigmatized in a show spoken in Spanish, that an entire audience of Barcelonans laugh simply by hearing how an actor says "s'aigo" or "s'homo" says a lot about our cynicism when it comes to caring for the diversity of the language.
But let's not add more objections, people get angry very easily. Let's go back to hierarchies, which is what the play is about, and let's talk about the teenager. What Guillem Balart does with this Hamlet is a true work of art, and not only because he sings the text with the security of a stenographer perfumed with the aroma of a Roman prince and has the kindness not to destroy Catalan phonetics, but because he adapts the gesture to the tragicomic reading of the character with unusual skill (Manrique, sorry, you're fired!). In the midst of the verbal torrent, pay special attention to when the actor experiences silence, and admire the baroque nature of the tics on his face, how he brings his hands to his nose or how he leans his back in that way with which children implore to be right as if chewing words with crying were a category of moral weight. After so many marmoreal and philosophical Hamlets, my God, we have finally been able to enjoy a human one!
We were saying that Broggi succeeds in using Shakespearean rhetoric to offer us a deformed and laughable court. This is wonderfully translated by the great Carles Martínez, to whom almighty God gifted one of the most beautiful timbres on the planet, with which he perfectly conveys the vision of a king who takes refuge in verbal excess to hide his misery; yes, Carles, you are fantastic. Míriam Alemany is also perfectly tuned, magnificent, in a version of Queen Gertrude with an equally autistic and rustic touch; Marc Rius goes the extra mile to bring his Laertes closer to humanity and mourning without making him seem like a fool, unlike most actors, and Sergi Torrecilla gives gravitas and beauty to an authoritative Horatio (watch out with the phonemes, some neutral ones you still Hispanize; and eliminate this narrator nonsense; whoever doesn't know the context of Hamlet should please read it or consult Wikipedia).
After so many marmoreal and philosophical Hamlets, my God, we have finally been able to enjoy a human one!Finally, we have a house Hamlet that reconciles us with theater in the Eixample.For those who only read the final paragraphs of articles, we will summarize it; run to the Aribau, the reading of the play is worth it and Ballart pulls off a colossal job. If the director listened to me and returned it to the theater, which is where it should live, and eliminated the corny bits that stain his very gallant vision, this pearly staging would already be the bomb. But let Broggi and his people do whatever they want, it's only natural, being a director, actor or whatever is much more important than writing newsletters. Congratulations, pearly ones. Finally, habemus Hamlet.