London, Italian Theatre Festival, Coronet Theatre – Notting Hill – 7 June 2019

Turin29° edition of the International Book Fair - Lingotto, Giovanni Agnelli Auditorium - 14 May 2016

"Time is a child playing, moving pieces on a chessboard: the kingdom of a child", Heraclitus said.
Fabrizio Gifuni pays a personal tribute to the Prince of Denmark: ghosts, neuroses and melancholy contend with each other.
The tragedy lives on in Hamlet’s mind.
As in no other of his plays, Shakespeare is ready to declare, with Hamlet, all his love for an idea of theater.
“The play is the thing/ wherein I’ll catch the conscience of the king”.
“Il Gioco è la cosa/ con cui prenderò la coscienza del Re”, says the Prince.
Even Power unmasks itself by playing.

For Fabrizio Gifuni, Shakespeare'sHamlet represents an ongoing laboratory. It began with a three-year workshop conducted in the early 1990s by Orazio Costa, the great master of Italian theater (Costa told us, “Each of you will carry a ‘Hamlet base’ all your life and you will continually encounter characters crossed by this current"). It passed through his theatrical debut in Euripides' Electra, directed by Massimo Castri, in the role of Orestes – one of the paradigms of the Danish prince – and continued up to the personal Shakespearean interpolations in his award-winning shows Gadda Goes to War, or the Tragic History of Amleto Pirobutirro and the Hamlet Concert, featuring a symphony orchestra and music by Shostakovich, staged in recent years at the Piccolo in Milan and at Teatro San Carlo of Naples.