“She talks about her father constantly. She says she’s heard that the world has become crafty, she screams and beats her chest. She’s moody: she talks incoherently and makes little sense. It’s meaningless, and the wildness of her language forces you to guess at what she’s trying to convey. Her winks and nods and gestures make you think that there may be sense in them but it’s not there. It’s very sad.”
(Shakespeare, Hamlet, Act IV scène 5, a gentleman)
What is Ophelia’s part. The part of the myth. The part of the woman. The part of the actress too.
She is the muse of the poet, the painter and the theatre director.
She is often locked into a world of physical, psychological and emotional projections.
I want to explore that sublime world, to try and liberate her. And in a way, liberate myself too.
With her enigmatic text, but also beyond her text. With Shakespeare first and foremost, of course. Then all the authors and all the authoresses who, I believe, are speaking of her. Or know how to make her speak, directly.
Her figure will be a pretext. To experiment with relationships and situations and perhaps discover other heroines, literature, theatre, cinema. Other actresses too.
Suicides. Or not.
Does she have to be tragic to be a heroine?
This show will be a transformation.
A woman, no matter who, leaves infancy.
Too soon, too late. She reacts. Her body explodes. Her head explodes.
What will be left? A corpse? Freedom? Joy?
"Finally, I will be alone with my breasts, my thighs, my womb” (Heiner Müller, Hamlet Machine).
by and with Georgia Scalliet
artistic collaboration Jolente De Keersmaeker
music Daniel Scalliet
dramaturgical collaboration Aurélien Hamard-Padis
costumes Marie la Rocca
images Anne Kessler
production tg STAN
coproduction Théâtre Garonne (Toulouse), Le Parvis (Tarbes)
premiere March 20th 2021, Théâtre dans les Vignes, Toulouse, FR