After an initial public experiment at Teatermaskinen in May 2012 for three public openings, the project was invited by the Museum of Contemporary Art of the City of Västeräs in October 2012, thanks to the support of Via Le Monde.
As with the first collaboration with Teatermaskinen, the project was twofold: the installation Un Musée (de théâtre) invited visitors to create their own political and poetic self-portrait. The Hamlet-machine performance was part of the installation’s set-up and time, taking on a different form each evening.


Concept: Clyde Chabot
Scenography: Annabel Vergne
Photography: Ema Cima
Administration: Delphine Naissant


The Museum (of Theatre) found its logical home in the Museum of Contemporary Art in Västeräs, further blurring the boundaries between the visual arts and the theatre: the audience was treated to a special exhibition of the theatrical act, and the theatre put the museum, the place of institutional exhibition, into play. The Museum became the setting for Hamlet-Machine, giving the show a strong symbolic dimension.

Thanks to the Museum’s adaptability, the company was able to fully realise its intuitions and integrate the staff of the venue into the dramaturgy: the security guard guarding the emergency exit became an integral part of the show, Ophélie smeared the immaculate white wall of the Museum with a red line, the two neighbouring rooms became the space for certain scenes – which were filmed and broadcast live in the performance hall -, Ophélie exited through the emergency exit, the Museum’s portable seats were used as seats for the audience – so they were free to move their seats during the show.

The performance was particularly interdisciplinary, bringing together contemporary theatre with the performance of Heiner Müller’s play, choreography with the score by dancer Amanda Billberg, video with the animation of five video screens, music with the live creation by composer Kenneth Cosimo and the occasional intervention of 5 musicians in the form of a concert fragment.