HAMleT thE cLOwN prINcE

A serious and good philosophical work could be written consisting entirely of jokes.
– Ludwig Wittgenstein

“Istro pasthro sura kirsu marisa kora mishe ki masthro. Hoyiya mise karo nari karo misthro againro murdro maro fathro…”

The play starts in gibberish (‘mythro favra languwara’ means ‘my favorite language’). Once I shake hands with Atul Kumar for a reasonable conversation on painting and acting. He is a master of sarcasm and knows how to deal with audience psychology. His fast physical moves, timing, fulminate expressions would be noticed by any theater lover, and his original script “Numbers in the dark” and adopted script “Chairs” is my all time favorite. Deconstructionism and post-modernism way of treatment is not always intended to entertain the viewers, but act as a spirit to search or create another face in art. This time, Atul Kumar and Rajat Kapoor presented “Hamlet the Clown Prince”. The play director Rajat decided to deconstruct every brick of the world famous tragic piece without disturbing the game with some clowns. Emotional theory is  meant as a garlic smell in our mind that pulls all our torn pages.

Here a clown trying to get inside the main character ‘Hamlet’ with the help of other clowns, living hamlet’s life without delivering twenty seven pages monologue. The sudden music transition changed the entire mood on both sides. Literally pulling the audience participation, this “audience pulling culture” followed in most of the comedy plays. Sometimes the whole situation seems like a circus atmosphere, director could have avoid this slip. In the meantime, like to underline Atul’s ‘Numbers in the Dark’, he used a clown in that play, but it was very subtle. Due to the concept of clown theme, its not easy for me to wear cynic mask. I really appreciate the director for avoiding ‘Shakespearean Complex”

I really enjoyed the moment. Long live theater.

P.S. I love this segment in Paris Je t’aime by Sylvain Chomet.

Related article: Rajat interview

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