Photo: Thomas Aurin of Rüping's 'Hamlet'

Why do theatre directors work with canonical dramatic texts?: Lars Maagerø on Rüping's 2017 Hamlet

The most striking moment in the production was the ‘To be or not to be’-soliloquy, which was removed from its dramatic context in the third act and given as the culmination of the performance. The soliloquy was staged not as Hamlet’s private contemplation of suicide, but three actors in the production delivered the speech simultaneously and directed it outwards, towards the audience.

‘Re-/Un-working Tragedy: Perspectives from the Global South’: Ekin Bodur on her upcoming Re- Network conference

But how does recognisable repetition operate as a unique kind of site for invention, and for speech? And how might we see a Global South engagement with the tragic canon as a de-stabilizing gesture – an un-working, rather than a re-working?