As if harnessed in a video surveillance system, one of the greatest tragedies of all time takes place. Stories of Hamlet and of his court take shapes trough the security camera footages, installed all over the kingdom. Later we’ll find out that who had narrated all the story of the Denmark Prince to the public is Orazio, Hamlet’s best friend. The story is that of Shakespeare’s Hamlet, the text is the integral text, the words the words of the 1600s, the aesthetics of nowadays. Rome becomes the set where the whole story of the Elsinore court takes place. In a reality setting, in a city that moves itself in its daily life, the tragedy of Hamlet takes place, without the ‘cinema’ altering the outline in the contemporary Shakespearean masterpiece takes shape. The setting in Rome and the rewriting, which takes place only in the settings, mean that the immortality of Shakespeare’s thought and language can also speak to today’s Italy, the our time’s Italy. Polonius will wander outside the parliament that will immediately think of a deputy of today, Hamlet monologues in the streets of Pigneto to make think of a Hipster genialoide and misunderstood of our times, the King and Queen meet Rosencrantz and Guildenstern, the two friends of Hamlet, in a bar in Villa Borghese, who will come to mind the informal and determined meetings of Italian politics and directors, that the theatrical show put on by Hamlet, to ‘capture the soul of the King’ begins to understand how much the ‘staging’ of one’s actions can still have a cathartic power, will be enough. And as the prince would say: Friends, welcome to Elsinore.