The slash is most commonly used as the word substitute for “or” which indicates a choice (often mutually-exclusive) is present. The slash is also used to avoid taking a position in a naming controversy, allowing the juxtaposition of both names without stating a preference. 

The slash is also used to indicate a line break when quoting multiple lines from a play; or in an ordinary prose quotation, the start of a new paragraph.

Used between numbers slash means division, and in this sense the symbol may be read aloud as "over".

Many Internet Relay Chat and in-game chat clients use the slash to distinguish commands, such as the ability to join or part a chat room or send a private message to a certain user. The slash has also been used in many chat mediums as a way of expressing an action or statement in the likeness of a command.

Slashes are used in music as an alternative to writing out specific notes where it is easier to read than traditional notation, or where the player can improvise.

rehearsing in the space!

1. polonius talks, his kids aren’t having it

2. hamlet lurks, ophelia talks to her father

3. A Nice Chat between hamlet and ophelia

4. polonius and claudius hiding with remarkable subtlety

5. gertrude playing at being motherly with ophelia

6. the player queen makes Passionate Action

7. the older generation (minus ghostdad)

8. gertrude and horatio whispering

9. kids react to ghostdads dancing 

10. gertrude is very helpful

welcome to elsinore

welcome to elsinore

lights preview.

first readthrough!
top: hamfam (gertrude, claudius, hamlet)
middle: ophelia, laertes, polonius
bottom: clown and horatio

two potential looks

"Otaheite Apple
Her scarlet skirt hid the purity of her heart. True, she flirted, but it was all a guise. Her innocence was fleshy white, but in his terror to possess her, to break her spirit, he bit into her, his rage covering her screams, and her ribbons fell limply."

from Fruit Series by Opal Palmer Adisa

preview.

Johann Strauss II – Artist's Life (Op. 316) (9 plays)

This was the main dance theme; friendly and familiar, we started it off one minute in exactly. Having this as a precedent definitely emphasized the contrast between the two dance scenes.

The choreographer and I also arranged musical beats for the actors to find partners. Specifically, Beatrice and Benedick had a moment of dread where they were the only two on the floor alone - see if you can hear it!

Tin Hat Trio – Waltz of the Skyscraper (9 plays)

This was Hamlet’s dance theme in my spring show. My choreographer chose the piece largely due to its pacing (the frantic Liszt waltz I had envisioned was literally undanceable due to its speed and would not have been safe to perform, though I maintain that Mephisto Waltz 1 feels very Hamlet) and dissonance. The clown running the DJ booth putting this on added to the sinister concept that he was running things in order to steer the narrative to a darker place.