Guillaume Lenel - Cie Pardès rimonim



Pluridisciplinaire, Théâtre

Project Partner

Compagnie Pardès Rimonim


Réécriture et mise en scène - Bertrand Sinapi // Jeu live - Amandine Truffy et Valéry Plancke // Voix enregistrées - Bryan Polach, Frederic Fresson, Christine Koetzel, Joel Fosse, Hervé Lang // Composition, Création sonore et radiophonique - Lionel Marchetti // Dispositif Binaural - Olivier Gascoin // Scénographie et costumes - Goury // Création lumières - Clément Bonnin // Régie plateau - Matthieu Pellerin et Bastien Champenois // Assistante mise en scène - Eulalie Roux // Production - Inès Kaffel et Alexandre Vitale


A Remix of Hamlet 

From Shakespeare's Hamlet to a new rewriting of this myth 

In 2012, our company was involved in a work of reappropriation and created a variation of Hamlet, based on Shakespeare's work and the many variations that have resulted from it. Our rewriting revealed the successive layers of writing that have been superimposed on that of Shakespeare and that constantly reshape this myth. This creation entitled 'Hamlet or the party during the plague' took place at the Manufacture, CDN in Nancy. 

In 2022 - 10 years later - we want to wipe the slate clean and create a new remix of this myth in a completely new digital device. We promised ourselves that we would put this masterpiece back on the table every ten years. Hamlet dies asking that his story be told, that it be reinvested by each generation, that his memory be perpetuated. He entrusts his friend Horatio with the task of keeping alive the memory of his struggles and his renunciations, of passing it on through the generations, each of which will take it in turn, reinvented, remixed, transformed. We wish to re-embrace this story which belongs to our European and world heritage. 

In this remix of Hamlet, we want to isolate and highlight the characters of the younger generation: Hamlet and his friend Horatio; Ophelia and her brother Laertes; and the Crown Prince Fortinbras. These characters will be present on stage, performed by live actors. Using headphones, their live voices will be mixed with other recorded voices, those of the other characters in our story, the characters of the older generation. The spectator will never see these other characters, but their voices will resound in their ears like ever-present ghosts. 

A remix with headphones and binaural sound: the spectators in the middle of the ghosts 

Wearing headphones, the spectator is immersed in binaural sound in the midst of these ghosts of the past. Binaural sound is a recording method that seeks to reproduce a sound as similar as possible to a natural sound scene. This technique provides an extremely realistic experience, a surprising illusion. This immersive device plunges the viewer into the middle of King Claudius' court and its dramas. The ghost of the murdered King walks around behind the spectator's neck, behind his back, as if in the hollow of his ear, as close as possible to his perception. 

Musical composition: André Mergenthaler between the ghosts 

Between the characters of the younger generation on stage and those of the older generation present in the recordings, André Mergenthaler navigates between these two spaces, these two temporalities. On stage and in the headphones, he will be in turn a musician at the service of the ghost of the murdered king, a jester of the present king and a spectral presence himself.

Text provided by the project partner

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Past Events

10.02.2023 • 20:00 - 22:00

Ophélie (Quantité négligeable)

Représentation tout public du spectacle "OPHÉLIE (QUANTITÉ NÉGLIGEABLE)" de la Cie PARDÈS RIMONIM "En entrant dans l’espace, les spectateurs se voient confier un casque audio. Plongés dans la cour du Prince Hamlet et de ses drames, dans un dispositif sonore immersif, ils suivent le déplacement des fantômes de ce mythe, comme s’ils rôdaient tout près d’eux. Sur la scène, Ophélie et son frère Laërtes portent cette histoire qui va se raconter une nouvelle fois. Mais cette fois, depuis le regard du plus petit - et pourtant emblématique, personnage de ce drame. Se réapproprier Hamlet, c’est se poser dans les yeux d’Ophélie. C’est affirmer qu’aujourd’hui, Ophélie peut parler."

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The PARDES RIMONIM theatre company was founded in 2005 by Amandine Truffy, playwright and actress who graduated from the Conservatoire National Supérieur d'Art Dramatique de Paris and Bertrand Sinapi, author and director trained at the Sorbonne-Nouvelle.  

This team began by creating 'KranK' by Bertrand Sinapi, published by l'Harmattan, at the Théâtre du Saulcy in Metz, 'Jeanne la pudeur' by Nicola Genka at the CCAM in Vandoeuvre-lès-Nancy, and then 'Italie Magique' by P.P. Pasolini at the Théâtre National du Luxembourg. In collaboration with artists from the European scene, the team created 'Hamlet ou la fête pendant la peste' at the CDN in Nancy, and 'Dé-livrance' at the Théâtre de la Balsamine in Brussels. 

The company focused its work on stage writing by creating 'Un siècle' at the Centre Pompidou-Metz, and 'L'Atelier de Jérôme' at the CDN in Thionville. In 2016, they began their association with the Théâtre Ici&Là in Mancieulles with the creation of 'Mystère' for young audiences, followed by 'Dieu reconnaîtra les siens', 'Survivre' in Italy with the Italian company Menoventi and 'Comme une chanson populaire' at the Opéra-Théâtre de Metz.  

In 2019, the company will become a guest artist at the Kulturfabrik in Esch-Alzette (LUX), to consolidate their mutual European networks. In 2022, they are creating 'La Généalogie de Mensonge' at the Machinerie 54 in Homécourt.  In the same year the company participated in Esch2022 - European Capital of Culture (LUX) with its creation "Hamlet Variations".