Jeg, Hamlet
multi-lingual Clown solo performance adapted from Shakespeare's play and created in Kazakhstan
Leona was commissioned by Denni Dennis, world-renowned Clown practitioner in the East European tradition, to take part in devising Jeg, Hamlet (I, Hamlet) a solo Clown show adapted from Shakespeare’s play. In the melding of movement, voice, sound and video Leona was responsible for creating an abstract hour-long 'soundtrack' for this sonically and visually poetic, surreal, immersive and interactive theatrical experience. Sounds were organic (recorded in the city of Almaty, Kazakhstan, as well as relevant recordings from elsewhere) and used Denni's voice speaking Shakespeare's text in Danish, which Leona wove into something abstract and atmospheric. The soundtrack is an active participant in the action on stage - another character, rather than simply mood enhancer and sound effects. Throughout the devising process sounds reacted to and provoked developments in both visuals and movements. These complex symbiotic relationships resulted in audio and video that were the backbone of the production, keeping everything together like a conductor’s baton and working on an equal level with the live performer.
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Shakespeare’s Hamlet is focused on a protagonist whose stable world disintegrates around him, and his Fools stand outside the action, seeking and observing often uncomfortable truths in the world around them. Using a greatly reduced version of Shakespeare’s text Jeg, Hamlet examines questions relevant to our massively uncertain and confused contemporary world through the prism of Clown. |
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Denni’s Clown is allied with physical theatre and in the tradition of innocent other-worldly creatures who travel through challenging encounters with universal questions about life while maintaining optimistic and outward-looking demeanours. As all team members embrace this non-realist approach in their work all pushed and pulled each other’s practices, all feeding new ideas and techniques, all elements working closely together. |
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The production is multi-lingual. Words spoken live were in Danish as this is Denni’s first language and Hamlet is Prince of Denmark. Mother-tongue is vital to a sense of self even in a globalised world, and minority languages must reach out to each other. The central To Be or Not To Be soliloquy is woven from twelve languages including Welsh. Six languages including English, Kazakh and Russian appear in Maria Manich's imaginative video. In future performances the language of the host country will replace one of the six, though Kazakh and English will always remain. The visual languages were much more than subtitles, commenting on or enhancing the situation of the protagonist, as did the soundtrack.
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Language makes us human, and respecting the diversity of language is a powerful way in which to foster tolerance and understanding. People understand emotional connections even when not speaking the same language, a point proven throughout the working situation of collaboration with refugee Russian artists all now based in Almaty. |
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From the conception the intention was that the production would be easily able to be toured and accessible to a wide and new audience worldwide. Jeg, Hamlet is being offered to festivals and venues internationally. Of course, using different languages also adds layers for multi-lingual audiences to engage with.
Co-creation took place in Almaty, the cultural centre of Kazakhstan, where all of the team-members apart from Leona were based. Witnessing the power of creativity and the arts to counteract negative life experiences was very powerful. The arts are not a luxury or 'only' entertainment but allow deep and profound expressions of and connections with being human.
Co-creation took place in Almaty, the cultural centre of Kazakhstan, where all of the team-members apart from Leona were based. Witnessing the power of creativity and the arts to counteract negative life experiences was very powerful. The arts are not a luxury or 'only' entertainment but allow deep and profound expressions of and connections with being human.
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Production team:
Denni Dennis: Clown Leona Jones: Sound Maria Manich: Video Nadezhida Lopardina: Set Design Arthur Aslanyan: Translator Oleg Bilik: Producer Anna Marchenko: Production Assistant Victor Gribashov: Documentary Video 12 volunteers worldwide who recorded themselves reading To Be or Not To Be soliloquy in their first language Esentai Gallery, Almaty: Premiere Venue Images: Productions stills # 1, 2, 3, 5, 8 Dmitrii Saburov Devising stills # 4, 6, 7. 9, 10 Leona Jones |
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3' 33" (extract from 59' 20") headphones or external speakers are recommended
Leona lived in Almaty for a month for the creation of Jeg, Hamlet. Her journey to and stay in Central Asia was supported by Arts Council Wales' International Opportunities Fund. Her participation in the production would not have been possible without this valued financial support.
