In the words of Antonio Latella, who has curated the project, BAT_Bottega Amletica Testoriana «is not, and does not aim to be, a show, but rather a space offered to anyone wanting to take part in a study process aimed at something that leads us beyond the formal conventions of theatre, rendering study itself a true form of sharing with the audience. In other words, seeking to inhabit a working environment that is dear to our masters, the “workshop“ is a term that has, perhaps, fallen out of fashion, but one that continues to indicate an approach to theatre that is based on research and learning, placing oneself at the complete service of the chosen writer. The audience will be invited to take part in this encounter between the eight chosen actors and the trilogy written by Giovanni Testori in differing stages of his life and focused on the figure of Hamlet. Three possible visions of Hamlet, three stations where each of them undermines, rewrite and reflect on the figure of the prince of Denmark and his relationship with his dead father’s body. The first stage focuses on the encounter with the screenplay for a cinematographic version of Hamlet that was never completed, and this non-event is now reborn in the very mystery that renders it unique and, perhaps, memorable. A text written for the cinema, where in actors will be questioned mainly on what it means for them to bring to the theatre something that was originally not theatrical, and above all on how to render three-dimensional and lend depth and realism to a piece written for the screen. The second stage, or station, examines L’Ambleto and its dizzying language that goes beyond dialect, re-inventing itself as a mother tongue; probably one of the most important rewritings of the twentieth century. The actors will be asked to inhabit this language and try to render it accessible and powerful for their own generation, which for its age is unfamiliar with Testori’s form of expression. The last stage will, instead, introduce the participants to Post-Hamlet, a shocking text that, despite addressing Hamlet, literally eliminates it from the stage. It is a text that forms the essence, the backbone of a body of work that continues to wander among those who wish to watch over the dead, to take care of them. It will, for the actors, be a revealing encounter, and we hope it will also be so for all those who will come to share these moments of study with us; moments that, in reality, take the form of a secular parish that has the potential to help us render this journey an event that most closely resembles and represents the term “research”. I believe that this rare experience could be defined a “possibility”, a possibility not only for the actors and for all the craftspeople called on to participate, including the producers, but also, and above all the audience, which will be able, with us, to play the role of a researcher capable of accepting and believing more in the risk of adventure than in the result. Thus giving themselves a true opportunity for discovery.»