Every era has a Hamlet of her own. He can be a standalone Hero, a Neurotic, a Philosopher, or even a Trickster. Our time traded tragedy for a soap opera, and looks with suspicion at the Prince of Denmark - there seem to be more differences than similarities with what it is ready to consume. Israeli actor Itay Tiran, playing Hamlet in a production by the Tel Aviv Chamber Theater, is confident that his hero can be found anywhere today.
Hamlet is a higher society guy not yet matured, in the gastronomic language he is medium-done. In this sense we are similar, my own identity is in the spiritual process of being “done”. By itself the inner life of a person is dynamic, not static. How else do we explain the behavior of Hamlet? At the beginning of the play, he states that he would kill his uncle, and then for three hours he deliberates around this. Hamlet lacks confidence, he suffers, he delays, that is, he is developing. That’s what makes him interesting for us, because we are the same.
The first Israeli company “Habima”, we can say, all started from Stanislavsky. In its life, such Russian masters took part as Vakhtangov and Michael Chekhov, and many other stars of the Russian theater. This was the peak of the art of acting, but then there came a sharp change of direction. Many musicians and artists emigrated to Israel and tried to create a new culture. Our state has become a sort of “melting pot”, what we now call the Israeli culture. It is Jewish culture mixed with importations from the outside. Values of my country for me are not an empty phrase, and I feel responsible for what I do.
In this sense, Hamlet for me is a very special part. A lot of teenagers come to the theate, and I think the Prince of Denmark is their character, they are easy to identify him with themselves. They see a man who asks the same questions, who has obvious problems in communicating with other people. When you are young you are especially upset by the betrayal of your friends, and this is the story of Rosencrantz and Guildenstern. Hamlet does not accept the commonly accepted rules of the game, and that is in line, perhaps, with any young person.
In addition, this play is largely about fathers and children: almost all children in the play are victimized. Ophelia goes insane, Laertes and Hamlet die bogged down in political intrigues devised by older generation. The Prince’s uncle is afraid of him, his mother does not understand him, and his father requires him to engage in revenge. Where’s love, family, mutual understanding here? Therefore, at my performances, I especially refer to young people, watch their reaction. For me it is very important to give them the ability to say: “It’s all about us!”
© DE I / DESILLUSIONIST ¹22. «MEDIUM-DONE HAMLET PRINCE OF ISRAEL»