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  • Print publication year: 2020
  • Online publication date: May 2020

Chapter 2 - The Face, the Mask, the Screen: Acting and the Technologies of the Other

Summary

Berlin, summer 2009: the opening moments of Hamlet. Lars Eidinger crouches downstage right, projecting the video image of his face on a beaded curtain dividing the upstage banquet table from the downstage thrust dirtbox that forms the principal playing area of Thomas Ostermeier’s production at the Schaubühne (première 2008; see Figure 1). Jan Kott’s Hamlet of “late autumn, 1956, read only newspapers” (“Hamlet of the Mid-Century” 68), but Hamlet today is typically involved in the intermediality of performance, perhaps even the digital remediation of theatre.