Hamlet in performance
Hamlet by William Shakespeare has been performed many times since the beginning of the 17th century.
Shakespeare's day to the Interregnum
Shakespeare wrote the role of Hamlet for
It is said that Hamlet was acted by the crew of the ship
Restoration and 18th century
The play was revived early in the
19th century
In the
The tendency of the actor-managers to play up the importance of their own central character did not always meet with the critics' approval.
20th century
Apart from some nineteenth-century visits by western troupes, the first professional performance of Hamlet in Japan was
Particularly important for the history of theatre is the
Craig wanted stylized abstraction, while Stanislavski wanted psychological motivation. Stanislavski hoped to prove that his recently developed
The most famous aspect of the production is Craig's use of a single, plain set that varied from scene to scene by means of large, abstract screens that altered the size and shape of the acting area.[37] These arrangements were used to provide a spatial representation of the character's state of mind or to underline a dramaturgical progression across a sequence of scenes, as elements were retained or transformed.[38]
The kernel of Craig's interpretation lay in the staging of the first court scene (1.2).[39] The screens lined up along the back wall and were bathed in diffuse yellow light; from a high throne bathed in a diagonal, bright golden beam, a pyramid descended, representing the feudal hierarchy, which gave the illusion of a single, unified golden mass, with the courtier's heads sticking out from slits in the material. In the foreground in dark shadow, Hamlet lay as if dreaming. A gauze was hung between Hamlet and the court, so that on Claudius' exit-line the figures remained but the gauze was loosened, so that they appeared to melt away as Hamlet's thoughts turned elsewhere. The scene received an ovation, which was unheard of at the MAT.[39] Despite hostile reviews from the Russian press, the production attracted enthusiastic and unprecedented worldwide attention for the theatre and placed it "on the cultural map for Western Europe."[40]
Hamlet is often played with contemporary political overtones:
In 1937,
In
Ian Charleson performed Hamlet in from 9 October to 13 November 1989, in Richard Eyre's production at the Olivier Theatre, replacing Daniel Day-Lewis, who had abandoned the production. Seriously ill from AIDS at the time, Charleson died seven weeks after his last performance. Fellow actor and friend, Sir Ian McKellen, said that Charleson played Hamlet so well it was as if he had rehearsed the role all his life,[51] and the performance garnered other major accolades as well, some even calling it the definitive Hamlet performance.[52]
In
21st century
A 2005 production of Hamlet in Sarajevo by the East West Theatre Company, directed by Haris Pašović, transposed the action to 15th-century Istanbul.[54]
In May 2009, Hamlet opened with
In March 2019, the play was performed in Canada by The Shakespeare's Company, in which the title role was played by Pakistani actor Ahad Raza Mir.[62]
Screen performances
The earliest screen success for Hamlet was
In contrast to Zeffirelli's heavily cut Hamlet, in 1996 Kenneth Branagh adapted, directed and starred in a version containing every word of Shakespeare's play, running for slightly under four hours.[72] Branagh set the film with Victorian era costuming and furnishings; and Blenheim Palace, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an epic and makes frequent use of flashbacks to highlight elements not made explicit in the play: Hamlet's sexual relationship with Kate Winslet's Ophelia, for example, or his childhood affection for Ken Dodd's Yorick.[73] In 2000, Michael Almereyda set the story in contemporary Manhattan, with Ethan Hawke playing Hamlet as a film student. Claudius became the CEO of "Denmark Corporation", having taken over the company by killing his brother.[74]
Adaptations
Hamlet has been adapted for a variety of media. Translation have sometimes transformed the original dramatically.
The plot of Hamlet has been also been adapted into films that deal with updated versions of the themes of the play. The film Der Rest is Schweigen (The Rest is Silence) by the West German director
Notes
- ^ Taylor (2002, 4); Banham (1998, 141); Hattaway asserts that "Richard Burbage [...] played Hieronimo and also Richard III but then was the first Hamlet, Lear, and Othello" (1982, 91); Peter Thomson argues that the identity of Hamlet as Burbage is built into the dramaturgy of several moments of the play: "we will profoundly misjudge the position if we do not recognise that, whilst this is Hamlet talking about the groundlings, it is also Burbage talking to the groundlings" (1983, 24); see also Thomson on the first player's beard (1983, 110). A researcher at the British Library feels able to assert only that Burbage "probably" played Hamlet; see its page on Hamlet.
- ^ Taylor (2002, 18).
- ^ Taylor (2002, 13).
- ^ Chambers (1930, vol. 1, 334), cited by Dawson (2002, 176).
- ISSN 0037-3222.
- ^ Pitcher and Woudhuysen (1969, 204).
- ^ Hibbard (1987, 17).
- ^ Marsden (2002, 21–22).
- ^ Thompson and Taylor (2006a, 98–99).
- ^ Letter to Sir William Young, 10 January 1773, quoted by Uglow (1977, 473).
- ^ Morrison (2002, 231).
- ^ Moody (2002, 41).
- ^ Moody (2002, 44), quoting Sheridan.
- ^ Gay (2002, 159).
- ^ Dawson (2002, 185–7).
- ^ Morrison (2002, 232–3).
- ^ Morrison (2002, 235–7).
- ^ Holland (2002, 203–5).
- ^ Moody (2002, 54).
- ^ Schoch (2002, 58–75).
- ^ Halliday (1964, 204) and O'Connor (2002, 77).
- ^ George Bernard Shaw in The Saturday Review 2 October 1897, quoted in Shaw (1961, 81).
- ^ Dawson (2002, 176).
- ^ Dawson (2002, 184).
- ^ Dawson (2002, 188).
- New York Tribune26 October 1875, quoted by Morrison (2002, 241).
- ^ Morrison (2002, 241).
- ^ Sarah Bernhardt, in a letter to the London Daily Telegraph, quoted by Gay (2002, 164).
- ^ Gillies et al. (2002, 259).
- ^ Gillies et al. (2002, 261).
- ^ Gillies et al. (2002, 262).
- ^ Dawson (2002, 180).
- Stanislavski were introduced by Isadora Duncanin 1908, from which time they began planning the production. Due to a serious illness of Stanislavski's, the production was delayed, eventually opening in December 1911. See Benedetti (1998, 188–211).
- ^ On Craig's relationship to Russian symbolism and its principles of monodrama in particular, see Taxidou (1998, 38–41); on Craig's staging proposals, see Innes (1983, 153); on the centrality of the protagonist and his mirroring of the 'authorial self', see Taxidou (1998, 181, 188) and Innes (1983, 153).
- ^ Benedetti (1999, 189, 195). Despite the apparent opposition between Craig's symbolism and Stanislavski's psychological realism, the latter had developed out of his experiments with symbolist drama, which had shifted his emphasis from a naturalistic external surface to the inner world of the character's "spirit". See Benedetti (1998, part two).
- ^ See Benedetti (1998, 190, 196) and Innes (1983, 149).
- ^ See Innes (1983, 140–175). There is a persistent theatrical myth that these screens were impractical, based on a passage in Stanislavski's My Life in Art; Craig demanded that Stanislavski delete it and Stanislavski admitted that the incident occurred only during a rehearsal, eventually providing a sworn statement that it was due to an error by the stage-hands. Craig had envisaged visible stage-hands to move the screens, but Stanislavski had rejected the idea, forcing a curtain close and delay between scenes. The screens were also built ten feet taller than Craig's designs specified. See Innes (1983, 167–172).
- ^ Innes (1983, 165–167).
- ^ a b Innes (1983, 152).
- ^ Innes (1983, 172).
- ^ Hortmann (2002, 214).
- ^ Morrison (2002, 247–8).
- ^ Morrison (2002, 249).
- ^ Morrison (2002, 249–50).
- ^ Smallwood (2002, 102).
- ^ Smallwood (2002, 108).
- ^ Hortmann (2002, 223).
- ^ Burian (1993), quoted by Hortmann (2002, 224–5).
- ^ a b Gillies et al. (2002, 267).
- ^ Gillies et al. (2002, 268–9).
- ^ Ian McKellen, Alan Bates, Hugh Hudson, et al. For Ian Charleson: A Tribute. London: Constable and Company, 1990. p. 124.
- ^ "The Readiness Was All: Ian Charleson and Richard Eyre's Hamlet," by Richard Allan Davison. In Shakespeare: Text and Theater, Lois Potter and Arthur F. Kinney, eds. Newark: University of Delaware Press, 1999. pp. 170–182
- ^ "AusStage". www.ausstage.edu.au. Archived from the original on 13 February 2018. Retrieved 13 February 2018.
- ^ Arendt, Paul (20 September 2005). "The Guardian: Muslim Dane to tour the Balkans". The Guardian.
- ^ Mark Shenton, "Jude Law to Star in Donmar's Hamlet." The Stage. 10 September 2007. Retrieved 19 November 2007.
- ^ "Cook, Eyre, Lee And More Join Jude Law In Grandage's HAMLET." broadwayworld.com. 4 February 2009. Retrieved 18 February 2009.
- ^ "Jude Law to play Hamlet at 'home' Kronborg Castle." The Daily Mirror. 10 July 2009. Retrieved 14 July 2009.
- ^ "Shakespeare's Hamlet with Jude Law". Archived 8 October 2009 at the Wayback Machine Charlie Rose Show. video 53:55, 2 October 2009. Accessed 6 October 2009.
- New York Times. 30 June 2009. Retrieved 10 September 2009.
- ^ "Complete Casting Announced For Broadway's HAMLET With Jude Law." Broadway World. 30 June 2009. Retrieved 10 September 2009.
- ^ Hamlet on Broadway Archived 14 September 2009 at the Wayback Machine, Donmar New York, Official website.
- ^ News Desk, Ahad Raza Mir becomes first Pakistani to star as Hamlet in Canada, Daily Times (Pakistan), March 31, 2019
- ^ Brode (2001, 117).
- ^ Brode (2001, 117)
- ^ Brode (2001, 118).
- ^ "IMDb - D'oh" – via www.imdb.com.
- ^ Davies (2000, 171).
- ^ Guntner (2000, 120–121).
- ^ Brode (2001, 125–7).
- ^ Both quotations from Cartmell (2000, 212), where the aim of making Shakespeare "even more popular" is attributed to Zeffirelli himself in an interview given to The South Bank Show in December 1997.
- ^ Guntner (2000, 121–122).
- ^ Crowl (2000, 232).
- ^ Keyishian (2000 78, 79)
- ^ Burnett (2000).
- ^ Howard (2000, 300–301).
- ^ Howard (2000, 301–2).
- ^ Teraoka (1985, 13).
- ^ Brode (2001, 150).
- ^ Vogler (1992, 267–275).
References
- Barbour, Richmond (June 2008). "The East India Company Journal of Anthony Marlowe, 1607–1608". Huntington Library Quarterly. 71 (2). Henry E. Huntington Library and Art Gallery: 255–301. ISSN 0018-7895.