Fictioning Hamlet: Dialogues and Diffractions is a choreographed environment. It includes materials and practices developed along a research process that I embarked on in the spring of 2018: surprised by the sense of shame I felt when realising I did not know the story of Hamlet, I began dealing with questions relating to the power dynamics between dominant narratives and individual imaginaries. I decided to work with Hamlet, not to re-write or reinterpret the original story, but rather to trigger a collective recollection through the things we believe we remember. Throughout the research process, I increasingly applied participatory approaches, and staged situations based on strategies of ‘re-fictioning’ as a practice for the construction of alternate realities. During this process, materials of different mediums have formed as temporary conclusions, as moments of diffractions triggered by specific situations, voices and dialogues. Hamlet became a basis for continuous departures, raptures, deviations, fugues and leakages. Hamlet is there, but it is an absent center, where it cannot be the dominant subject; its power is decentralised and folded into a more dynamic process of intra-subjective relations. 

Within the frame of the program for the final presentations of the Master studies in New Performative Practices, DOCH/SKH, I shared my ongoing research through participatory practices, texts, audio-visual materials and live performance, with the aim of turning room 402 at Linnégatan 87 into a choreographed environment of situations and relationships.