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Essere o non essere, tale è la domanda.

E’ egli più decoroso per l’anima di tollerare i colpi dell’ingiusta fortuna, o impugnare le armi contro un mare di dolori e, affrontandoli, finirli? Morire, dormire, null’altro; e dire che con quel sonno poniamo termine alle angosce del cuore ad ai mille affanni naturali di cui è erede la carne, ... e' una conclusione da essere avidamente desiderata. Morire, ... dormire! Forse sognare ... ; ah ecco il punto; perocché quali sogni possono sopravvenire in quel sonno di morte, allorché reciso abbiamo il filo di questo mondo? Ecco ciò che ci trattiene, ed è ciò che rende l’infortunio sì lungo; perocché chi vorrebbe altrimenti sopportare i flagelli del tempo, gli oltraggi degli oppressori, le contumelie dei superbi, le angosce dell’amore disprezzato, le cabale della legge, l’insolenza dei governanti e i vilipendi che il merito paziente soffre dall’abbietta ignoranza quando un ferro gli basterebbe per darsi quiete? Chi vorrebbe sopportare questi fardelli, e gemere, e affannarsi, trascinando un’inferma vita, se non fosse il timore di qualche cosa al di là della tomba, di quel paese ignoto, da cui nessun viaggiatore ritorna, che turba la volontà, e fa preferirci i mali che abbiamo, piuttosto che affrontare altri che ci sono sconosciuti? Così la coscienza ci rende tutti codardi, ed il colore ingenito della risoluzione rimane offuscato dalla pallida ombra del pensiero; così le imprese di maggior polso e momento si sviano dal loro corso naturale, e perdono il nome di azioni.

 

William Shakespeare - Amleto - Atto III - Scena

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Qui la versione Inglese per I piu' esigenti...

To be, or not to be . . . .


,

To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action.-Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd.		 ----------------- audio
(in Russian)
----------------- audio 2
(Brannagh)
----------------- read play
About the audio:

Vysotsky (http://www.vysotsky.com)
Branagh:
The Renaissance Theatre Company
Bantam Doubleday Dell Audio Publishing
BBC Radio, (c) 1992, New York.

  

 

Kenneth Branagh on "To be or not to be . . . ."

 

 

. . . . GROSS: Tell me about approaching the "to be or not to be" soliloquy -- the most famous of all soliloquies, perhaps leading with the most famous line in all of theater. What did you think about in order to make that sound meaningful, and not like "oh yeah, those lines -- I know those lines."

BRANAGH: Well, I 'spose there were lots of things to consider.

I had played it in the theater many times, and found it difficult.

You come on sometimes -- I'd seen actors do it, actually -- rushing on, say the line very quickly, hoping to get this famous passage out of the way. The audience feels rather cheated then, and I used to come on -- on one production and say it slowly.

But I found that the entire audience whispered it under their breath with me, and had I stopped in the middle of the line, it would have been completed by the rest of the audience. I felt like I should have a child with a bouncing ball behind me.

So I think you've got to -- in film at least, you were -- you didn' t have an enormous audience there. And in fact, in the way we shot it, which was with Hamlet looking into a mirror, it meant that in this vast state hall set full of mirrored doors, there was only myself and the camera operator. So that at least gave me a feeling of isolation. We couldn't have anybody else in the room because they would have been reflected.

You have to try and say it as truthfully and honestly as possible. One of the things about that speech that I think sometimes gets forgotten is that Hamlet has been sent for prior to this.

Sometimes, the actor's so concerned with the famousness of the speech that he comes on with that in mind, and in fact, it's quite useful as an actor to come on with some sense of "hello, where is everybody?" -- of possibly being watched. So that that quality -- the slight paranoid thing -- runs under the speech as well.

You try and say this truthfully as possible, and as if the lines had never been said before. For me, having done it a lot before, I'd got a lot of my neuroses out of the way and I also felt: do it in a mirror with Hamlet literally talking to himself and with the suspicion, which we as the film audience know to be true, that Claudius is actually watching him on the other side of what we find out is a two-way mirror -- was something that was very helpful to me.

Our atmosphere in the court was one of suspicion and spying and intrigue -- hidden doors and two-way mirrors -- and there was something that put a little sort of nervous thing under the speech, which was very helpful . . . .

National Public Radio, December 1996
Terry Gross, host