Abstract
Robert Wilson's adaption — or transmutation — of the East German playwright Heiner Müller's Hamletmachine typifies both the relatively staid, monodimensional quality ofMüller's Post-Modernity, and the more dynamic, multi-media vision of its producer. Hamletmachine' s London season opened at the Almeida Theatre; a theatre which could well have been renamed the "All-Media" for this occasion. Mixing almost every theatrical and extra-theatrical trick in the Post-Modem book, it combined classical declamation, parodic classical declamation, autistic anti-declamation, colloquial declamation, cry, whisper, laugh, whimper, tape-recorded screech and mutter, tape-recorded noise, mime, acrobatics, sculptural immobility, videoesque choreography, virtuoso lighting, projected slide-imagery, black and white and coloured film-imagery, digitally deconstructed video-image, and an array of musical sound-tracks ranging from the nostalgic tango accompanying the cast's final bow, to the echoing tones of a piano piece by Lieber and Stoller (composers of Elvis Presley's Hound Dog).
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