
The notes stay with how this modern staging breaks and mixes form, and with Hamlet as he is played in that bare space.
The notes take up Park Geun-hyung’s Alley Hamlet. They read it as a reinterpretation of Shakespeare’s Hamlet, placed in a modern theatre that breaks form and mixes it with musical and performance work.
The older play is not thrown away. It is moved into a space that works by different cuts and different kinds of entrance.
The stage, they write, is sparse and black. Cubes can serve as a throne, or as chairs. Entrances and exits overlap. There is no blackout. The cuts feel like film.
Actors face slightly off the house, not toward one another. Looking past a partner, rather than into a partner’s face, becomes part of how the evening is built.
There is no knife, and no glass. What would have been a prop is given only as a gesture. The notes call this a “poor theatre.” The poverty is of objects, not of the playing.
They wanted to stay with that bare space, and with Hamlet as he is played there. A longer form of the same Korean notes can be read on CampusDown.
Last updated 15 November 2026
A reinterpretation of Shakespeare’s Hamlet. They place it in a modern theatre that breaks form and mixes it with musical and performance work.
A sparse black stage, with cubes that can be a throne or chairs. Entrances and exits overlap; there is no blackout; the cuts feel like film. Actors face slightly off the house, not toward one another.
There is no knife, and no glass. What would have been a prop is given only as a gesture. The poverty is of objects, not of the playing.
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