In the organizer's words:
Hamlet is going mad. His father has died of a sudden, strange illness, and his mother has remarried after only a month, to her late husband's brother. At night Hamlet has visions of his father: he claims that his brother has poisoned him. Now Hamlet is supposed to take revenge for him and kill the stepfather. At first Hamlet plays the madman in order to conceal his murder plans. In the process, he loses his footing. The friends turn out to be informers for the stepfather, even his lover Ophelia becomes part of the plot. The hunter himself becomes the hunted. Behind every wallpaper and every curtain the denunciators are listening. The paranoid is really pursued. Played out becomes real madness, in which Hamlet finally kills the wrong man: Polonius, Ophelia's father. Mother and stepfather cover up the murder and take Hamlet out of circulation. Ophelia breaks and kills herself. Only his stepfather's initiative to silence him for good plays into Hamlet's hands the opportunity to force his whole world to fall in a final rampage. In the paradox of the actionless protagonist, Shakespeare's "Hamlet" offers a timelessly topical analysis of the intellectual dilemma between complex thought and political action. In Ostermeier's production, the up to 20 characters are played by only six actors, who constantly change roles. Hamlet's progressive loss of reality, his disorientation, the manipulation of reality and identity thus find their counterpart in a style of acting that elevates the strategy of dissimulation to a basic principle.
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