"...the figure of Hamlet is placed into intensely individual position
and offers an introspective view of his psychological instability. If
the chronologically logical storyline of King Lear is filled with
requisite stunts, talkative grimaces, cartoon comic and clumsy bone
picks, than the sets of short scenes with Hamlet (Aleksey Mironov)
are already torn out form eventual real location and enter an
esthetically transformed meta-space.
But any tendency towards conceptual placement into “something more” is
only fictive, momentary, and probably just cynical. Control of face
mimic, speech and minimalistic body moves of Mironov is simply
amazing. Only by mumbling, stuttering, making faces and extremely poor
assortment of words he creates his interpretation of Hamlet, which is
distanced but at the same time convulsive, mocking and tragic
simultaneously.
Every now and then it seems that this is the “real” Hamlet that the
classic theatre structure would only rarely dare to label with such
exaggerated and at the same time “reckless” image.
"DELO" Ljubljana 2.12.2010
