The character of Hamlet in the tragedy by Shakespeare seems lost and immobilised by the order to avenge his father’s murder. Hamlet cannot fulfil his father wish until the very end of the tragedy and for the majority of the drama he is unable to take action. The idea around which this show unfolds is the son’s profoundly human inability of doing.

The choreographic research of the work moved close to the concept of corporeity that the trance rites of possession all around the world have in common, without any intention of appropriation towards none of these religious practices. In the type of possession that generate a clear, incisive separation between the possessed person and the divinity, rather than a mystical union of the two, we encounter a condition of the body that is indeed very similar to Hamlet’s mental one. In order to give their own body to someone else who will enter and ride it from within, the possessed person must before become nothing but a container, a tunic of skin (the word “dress” in latin Habitus means ‘way to be’) that will be worn by someone else. This complete abnegation of the self brings the possessed person to forget the ability of existing: feeling themselves, making any decisions and being. This radical notion of embodiment has been extremely important in the creation of this work.