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HAMLET (Adaptation)

— What do we make of contemporary theatre today?

18 October — 22 November 2018

HAMLET (Adaptation)
Marta Ros Hugas, 'Basics Identidad', 2018

An approach to the influences of the theatre in our daily lives by the students of the Universitat Pompeu Fabra (UPF) and the Escola Massana

Hamlet (Adaptation) stems from an invitation that curator Núria Gómez Gabriel addressed to 106 students enrolled in the degree Art & Design (Escola Massana), and the degree of Audiovisual Communication (Universitat Pompeu Fabra, UPF) to make a short film of 1 minute about their understanding of contemporary theatre in light of the Hamlet Myth.

Among the high number of videos that were submitted, a jury made-up by David G. Torres (art critic and curator), Marc Caellas (theatre director, writer and curator), Isaki Lacuesta (filmmaker) and Carolina Ciuti (Artistic Director of LOOP and curator) singled out a total of 6 short films that are presented herein.


ÈLIA BOQUERAS, 60 (OR the endless side of the story), 2018 – UPF 

The video departs from a duality between reality and fiction. It shows the representationof a same night from different perspectives, through the ‘transmedia’ mechanism of the Insta stories. It exposed the different ways we could look at a same fact, questioning what we believe is “real.”


“Tinder, earphones that don’t work and love that maybe doesn’t work either,
do you like it, or not, or not, or not, what do you like?
Hours waiting for the screen to turn on and you still don’t know what to do.”

JÚLIA GAITANO, My drama has not taken place, 2018 – UPF

Wordslime bubbling in soundproof speech-balloons over the battle. My drama has not taken place. The script was lost. (I am not Hamlet.) I play no role anymore. My words have nothing more to say to me. My thoughts suck the blood of images. My drama is cancelled. Behind me the scenery is being taken down. By people who are not interested in my drama, for people to whom it doesn’t matter. It doesn’t matter to me either. (…)
For mine is the nothingness.

* Adapted from Die Hamletmaschine (1977), by Heiner Müller

MANUEL LATOUR FERNÁNDEZOfelia, 2018- Escola Massana

In our contemporary context, Ofelia is characterized by a young smoker that soaks her feelings into music.

ALICIA ORTIZ, No te preocupes, aún sigues mitificada, 2018 – Escola Massana

No te preocupes, aún sigues mitificada [Don’t worry, you still are mythicized] ironically deals with the phenomenon of the treatment of the female image in the fashion industry. In audiovisual media, women are often portrayed as weak, pale, sickly and exhausted. What shame that models aren’t dead, we could say that they are like Ofelia! Even so, oddly, Ofelia is still alive. Why not to worship her one more time?

MARTA ROS HUGAS, Basics Identidad, 2018 – UPF 

In this video I ask Siri about my life in general.


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