Łódź boasts about an interesting international festival called “New Classics of Europe,” during which every year a number of inspiring, challenging and acclaimed productions from all over the world are invited to the Stefan Jaracz Theatre. In November 2014 I had a unique opportunity to witness and experience a totally new dimension of theatre as well as of Hamlet, Shakespeare’s most celebrated play. Please, Continue (Hamlet) is not a straightforward production, where you wonder how “to be or not to be” is going to be delivered this time round and whether they are going to do it in modern dress or Renaissance costumes. It is the ultimate experiment in form (and, as it turned out, the ultimate test for the audience), where Shakespeare’s Hamlet meets a real-life inspired murder case, where actors interact with real judges, prosecutors and barristers, where reality meets fiction. In fact, the entire show is a murder case trial during which we become acquainted not only with the ins and outs of Hamlet’s predicament but also with the intricacies of the Polish judicial system. Before us stands a young Hamlet accused of killing Polonius, Ophelia as an auxiliary prosecutor, and Gertrude as a witness. Claudius is absent—he has fled to England. We all know how Shakespeare’s Hamlet ends. When illusion blends with reality, however, the outcome of the trial becomes totally unpredictable. Even the director does not know the verdict until the judge pronounces it towards the end. To this effect, the auditorium and stage of the Stefan Jaracz Theatre were brightly lit throughout the entire show. The audience were handed little notebooks with a cut-out courthouse on the front cover, as if to indicate a thin line between theatrical illusion and a reality that we all had a chance to witness during the infamous O. J. Simpson trial broadcast live on television and the more recent Oscar Pistorius’s case. What blurred further the distinction was the presence of a real-life judge, Anna Maria Wesołowska, who happens to be a TV

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剧院评论

罗兹（źódź）举办了一个有趣的国际音乐节，称为“欧洲新古典音乐”。每年，来自世界各地的许多鼓舞人心，富有挑战性和广受赞誉的作品都应邀参加Stefan Jaracz剧院。2014年11月，我有一个独特的机会来见证和体验戏剧以及莎士比亚最著名的戏剧《哈姆雷特》的全新领域。拜托，继续（哈姆雷特）并不是一件简单的作品，在这里，您想知道这次将如何“成为或不成为”，以及他们是否打算穿着现代服装或文艺复兴时期的服装。这是形式上的终极实验（事实证明，这是对观众的终极检验），莎士比亚的《哈姆雷特》遇到了一个现实生活中的谋杀案，演员与真正的法官，检察官和大律师互动，现实与小说相遇的地方。实际上，整个节目都是一场谋杀案审判，在此期间，我们不仅了解哈姆雷特困境的来龙去脉，而且还了解了波兰司法制度的复杂性。在我们面前的是一个年轻的哈姆雷特，他被指控杀害波洛纽斯，奥菲莉亚是辅助检察官，格特鲁德是证人。克劳迪乌斯不在，他逃到了英格兰。我们都知道莎士比亚的《哈姆雷特》是如何结局的。但是，当幻想与现实融为一体时，审判的结果将变得完全不可预测。甚至连导演也不会知道判决，直到法官最后宣告为止。为此，斯特凡·贾拉兹剧院的礼堂和舞台在整个演出过程中都被照亮了。观众们被递给小笔记本，封面上有一个开孔的法院，好像是在戏剧幻觉和现实之间划出了一条细线，在臭名昭著的OJ Simpson电视台直播和最近的Oscar Pistorius案中，我们所有人都有机会看到。区别进一步模糊的是，现实生活中的法官安娜·玛丽亚·韦索沃斯卡（Anna MariaWesołowska）的出现恰好是电视