Berlin, summer 2009: the opening moments of Hamlet. Lars Eidinger crouches downstage right, projecting the video image of his face on a beaded curtain dividing the upstage banquet table from the downstage thrust dirtbox that forms the principal playing area of Thomas Ostermeier’s production at the Schaubühne (première 2008; see Figure 1). Jan Kott’s Hamlet of “late autumn, 1956, read only newspapers” (“Hamlet of the Mid-Century” 68), but Hamlet today is typically involved in the intermediality of performance, perhaps even the digital remediation of theatre.