Heiner Muller's play has been adapted by Daniel Veronese to suggest a sort of ritual within which History begins and continues until its end, and then begins all over again. Hamlet-Machine is about violence and puppet bodies lend themselves perfectly to being beaten and dismembered - images of terror that reigned and that still exists in Argentina. The performance itself contributes to the system whose grip tightens around the actors until the end. The music plays the role of a voice-off, and mirrors the size of the actors, the puppets. Some represent the actors themselves, and have the same face and mask. They represent the multitudes who suffer and have suffered the horrors of extremist regimes. Indeed, for this Argentinian company, as for the author, Heiner Muller, the notion of the artist and the intellectual's guilt is likened to an acceptance of violence, that is today made banal and openly broadcast.
Distribution
stage direction Daniel Veronese, Emilio García Wehbi et Ana Alvarad
Translation : Gabriela Massuh and Dieter Welke
Actors-manipulators : Ana Alvarado, Emilio García Wehbi, Jorge Onofri and Alejandro Tantanián
Voices off : Alejandro Tantanian and Roman Lamas
Music and arrangements : Cecila Candia
Lighting : Jorge Doliszniak
Costumes : Rosana Barcena
Puppets and objects : Norberto Laino
Scenography : El Periférico de Objetos
Assistant director : Felicitas Luna
Production
Production : El Periférico de Objetos, Théâtre San Martín de Buenos Aires
Avec l'aide du : Goethe Institut de Buenos Aires. Création 1995
Le programme argentin a été réalisé avec l'aide : du ministère argentin des Affaires étrangères, du gouvernement de la ville de Buenos Aires, de l'ambassade de France en Argentine, de l'alliance française de Buenos Aires, de l'Association française d'action artistique-ministère des Affaires étrangères et du département des Affaires internationales du ministère de la Culture et de la Communication
Avec le soutien du : Teatro Babilonia de Buenos Aires
Avec le concours de : Aerolineas Argentinas