The British company Globe Theatre has proposed carving on stage in 205 countries one of the most important pieces of world drama: Shakespeare’s Hamlet. The tribute, which began last April and is expected to last two years, is due to the 450th anniversary of English writer and the Mella Theater in Havana has been included in the tour.
On the choice of the title for this tour, Malú Ansaldo, one of the organizers, said that “it was due to the phrase” To be or not to be ” one of the most famous of Shakespeare, Hamlet is almost his more universal work, which has more performances, more versions, and is the most widely studied around the world. ”
Globe Theatre, whose cast is made up by 8 actors in charge of playing 24 characters in the staging under the direction of Dominic Dromgoole and Bill Buckhurst, will perform in that theater on August 7, with a dual function at 2:30 pm and 7:30 pm.
On the barrier language may be for the Cubans, the producers suggested use for each scene to a synopsis in Spanish or, as has been done in Cuba in the past, the subtitle of each parliament. In addition, Hamlet is a known text and the plot can be followed beyond the words, they said.
The closure of the international tour will be in two years, April 23, 2016 at the headquarters of the company, the London´s Southbank, when they will mark 400 years since the death of Shakespeare.
Moreover, the Venezuela National Traditional Dance Company will perform from July 10 through the 31 in Havana, Santiago de Cuba and Guantanamo, with shows that will bring to our stages rhythms, cults and rites of that South American country, with a program that includes workshops and forums for dialogue between the cultures of both nations.
With a repertoire of twelve dance numbers, the group will dance Mare Mare Kariña, Gaita de Tambora, Sones de Tamunangue, El baile de la Hamaca and Diablos Danzantes del Chuao, many with an essentially social sense, marked by the pursuit of professional development of its members and their own artistic expressions.
The dancers’ corps, mostly young talents of Venezuelan contemporary-dance, “are consistently crimped in a scene that gives forms a diverse use and exploits all scenic levels.”
The Latin American identity, customs and gestures are mixed with sound and visual elements in each of the numbers to be presented at the Teatro Martí Santiago de Cuba, Guantanamo and then finally at the Miramar Theater of Havana.
Authors
Diana Ferreiro,
diana
