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Hamlet-Production-Guide.Pdf
ASOLO REP EDUCATION & OUTREACH PRODUCTION GUIDE 2016 Tour PRODUCTION GUIDE By WILLIAM SHAKESPEARE ASOLO REP Adapted and Directed by JUSTIN LUCERO EDUCATION & OUTREACH TOURING SEPTEMBER 27 - NOVEMBER 22 ASOLO REP LEADERSHIP TABLE OF CONTENTS Producing Artistic Director WHAT TO EXPECT.......................................................................................1 MICHAEL DONALD EDWARDS WHO CAN YOU TRUST?..........................................................................2 Managing Director LINDA DIGABRIELE PEOPLE AND PLOT................................................................................3 FSU/Asolo Conservatory Director, ADAPTIONS OF SHAKESPEARE....................................................................5 Associate Director of Asolo Rep GREG LEAMING FROM THE DIRECTOR.................................................................................6 SHAPING THIS TEXT...................................................................................7 THE TRAGEDY OF HAMLET CREATIVE TEAM FACT IN THE FICTION..................................................................................9 Director WHAT MAKES A GHOST?.........................................................................10 JUSTIN LUCERO UPCOMING OPPORTUNITIES......................................................................11 Costume Design BECKI STAFFORD Properties Design MARLÈNE WHITNEY WHAT TO EXPECT Sound Design MATTHEW PARKER You will see one of Shakespeare’s most famous tragedies shortened into a 45-minute Fight Choreography version -
Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Or Shakesploi Meets the Camp
Colby Quarterly Volume 37 Issue 1 March Article 7 March 2001 Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets the Camp Richard Burt Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 37, no.1, March 2001, p.78-106 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Burt: Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets (the) Camp by RICHARD BURT II cinema eI'anna piu forte (Cinema is the strongest weapon) -Mussolini's motto Every day I'll read something that is right out of Titus Andronicus, so when people think this is "over the top," they're absolutely wrong. What could be more "over the top" than the Holocaust? -Julie Taymor "Belsen Was a Gas." -Johnny Rotten SHAKESPEARE NACH AUSCHWITZ? NE MORNING in the summer of 2000, I was channel surfing the trash talk O. shows to get my daily fix of mass media junk via the hype-o of my tele vision set. After "Transsexual Love Secrets" on Springer got a bit boring, I lighted on the Maury Povich Show.! The day's topic was "My seven-year-old child drinks, smokes, swears, and hits me!" Father figure Pavich's final solu tion, like Sally Jessie Raphael's with much older kids on similar episodes of her show, was to send the young offenders to boot camp. -
The Tragedie of Hamlet, Prince of Denmarke (Open Library) 4/18/12 3:12 PM
The tragedie of Hamlet, Prince of Denmarke (Open Library) 4/18/12 3:12 PM Log in / Sign Up SUBJECTS AUTHORS ADD A BOOK Search LISTS RECENTLY ABOUT US One web page for every book. Show only eBooks More search options Last edited anonymously The tragedie of Hamlet, Prince of Denmarke: a March 28, 2012 | History Edit study with the text of the folio of 1623 661 editions By William Shakespeare About the Book The play, set in the Kingdom of Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius for murdering the old King Hamlet, Claudius's own brother and Prince Hamlet's father, and then succeeding to the throne and marrying Gertrude, the King Hamlet's widow and mother of Prince Hamlet. The play vividly charts the course of real and feigned madness—from overwhelming grief to seething rage—and explores themes of treachery, revenge, incest, and moral corruption. - Wikipedia SUBJECTS Drama, Princes, Hamlet (Legendary character), Revenge, Murder victims' families, Kings and rulers, Death, Fathers, Succession, Bibliography, Textual Criticism, Quartos, Plays, Regicides, Stage history, English literature, Sources, Juvenile drama, History and criticism, Motion pictures, Hamlet (Motion picture: 1948), Juvenile literature, Criticism and interpretation, Study and teaching, Production and direction, Tragedy, Adaptations, Translations into Russian, Translating into Russian, Collections, Inheritance and succession, Britons, Translations into French, Paper toy making, English Plays, Aging Manage Covers parents, Outlines, syllabi, Scripts, -
The Dramatic Space of Hamlet's Theatre
Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et. -
Hamlet on the Screen Prof
Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting. -
Make Us Laugh at That: Hamlet's Gravediggers
“Make Us Laugh at That: Hamlet’s Gravediggers” LAURY MAGNUS Though the “Clownes” in 5.1.appear only once in Hamlet, Shakespeare’s Gravediggers’ Scene has been called “the most extraordinary scene in this extraordinary play” (CN3189, Hibbard, 1987), a valuation that is surely a function of the proud professional undertaker, the First Clown, whose quick wit shines out in dialogue but who is intently focused and in his own world when at his proper task of digging. Does this clown speak more lines than have been “set down for him?”1 Of course, such a question is one that textual evidence in itself can’t decide. But what it does point to is that even when intent on his digging, the Gravedigger enjoys the limelight and “performing” for himself and for any passers-by. What is also clear is that the Gravedigger’s singing at his tasks intrigues Hamlet at a critical point of passage in the play. As an outsider first introduced in this scene of the play, the Gravedigger could be seen as a choric figure. In his initial dialogue with Second Clown, he unwittingly comments on the prior actions of the prince and the court of Denmark that have led them to seek the consecrated “ground” of his professional turf. For his part, the prince, now also an “outsider” who stumbles upon this site, becomes a kind of correlative choric figure as he comments to Horatio on the Gravedigger’s song and accompanying gestures and then draws out the Gravedigger concerning his trade. From this dual choric perspective grows what is to be a direct duel of wits between clown and prince that is prelude to the mortal duel of 5.2. -
Supernatural Elements in Shakespeare's Plays
ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 10, No. 2, pp. 391-395, March 2019 DOI: http://dx.doi.org/10.17507/jltr.1002.22 Supernatural Elements in Shakespeare’s Plays Liwei Zhu Tianjin Polytechnic University, China Abstract—This paper analyzes the supernatural elements of Shakespeare’s plays from several aspects. It first introduces the historical background of Shakespeare’s writing career. Then, it analyzes supernatural elements in three of his great plays and introduces how the supernatural elements are represented on stage in old Elizabethan period and in modern times. Last, it provides the modern implications to the 21 st century viewers of Shakespeare’s plays. Index Terms—the supernatural elements, ghosts, Elizabethan period I. INTRODUCTION Modern humans find it difficult to believe in ghosts, witches or other supernatural beings. They couldn’t understand why people in the Elizabethan period can be so serious about these things. People’s intense fear towards the supernatural elements is probably due to the lack of physical knowledge about world they were living in. Shakespeare introduced many supernatural elements into his plays. Without looking at the reasons and motivations behind them, we wouldn’t be able to detect the plays’ underlied meanings and implications. Shakespeare’s plays are always considered to be the greatest plays in the world literary history, not only because of the beautiful language, the complex plot construction and the modern implication of their universal themes, but also because of the breathtaking literary skills applied and mysterious elements in these plays. The supernatural elements constitute a significant part of Shakespeare’s plays, whether in the romantic comedies in the early period---A Midsummer Night’s Dream (1596) or in the tragedies of the second period---Hamlet (1601), Othello (1606), Mac Beth (1606), Romeo and Juliet (1607) or in his later romance---The Tempest (1611). -
Hamlet Crossword Puzzle
L I T ERARY CROSSWO RD PUZZ LE HamletHamlet 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 Across Down Across Down 1. Hamlet describes his father as a “Hyperion”: a 2. Hamlet and Laertes fight here during Ophelia’s 1. Hamletgod describes of __________. his father as a “Hyperion”: a god of 2. funeralHamlet and Laertes fight here during Ophelia’s funeral. __________.8. Hamlet may or may not be __________. 3.3. HamletHamlet calls calls Rosencrantz a __________ a __________ for doing for favors for 8. Hamlet10. Claudius may or maysays not “__________ be __________. in great ones must doingClaudius. favors for Claudius. not unwatch’d go.” 4. When the wind is from the south, Hamlet can tell 10. Claudius12. Hamlet says says“__________ of Claudius, in great “…meet ones must it is not I set unwatch’d it 4. theWhen difference the wind between is from the a hawksouth, andHamlet a can tell the go.” down, That one may smile, and smile, and be a __________. difference between a hawk and a __________. 12. Hamlet__________.” says of Claudius, “…meet it is I set it down, That one 5.5. HamletHamlet discovers discovers __________’s __________’s skull skull in the in churchyard.the may13. smile,The play and takessmile, andplace be duringa __________.” this period. 6. churchyard.Rosencrantz and __________ escort Hamlet to England. 13. The15. playClaudius takes place says during his deeds this period. are “__________.” 6. -
The Comedy of Death in Hamlet: Everyone Dies in the End
Cummings: The Comedy of Death in Hamlet: Everyone Dies in the End The Comedy of Death inHamlet: Everyone Dies in the End Ty Cummings Shimer College Faculty Sponsor: Barbara Stone In my reading ofHamlet, there are two key moments which take death out of its strict placement within the plot, and into a place of universal deliberation where it is treated as an idea, acomponent of the human condition. I'm speaking of Hamlet's "To be or not to be” soliloquy and his encounter with the gravediggers. In experiencingHamlet as a play deemed 'tragic,' these philosophic and existential musings of death seem to embolden the distressing morbidity ofHamlets concluding scene. However, it is possible to interpret these and other moments as disarming the 'tragedy' Hamletof and transforming death into an object of absurdity, comedy, and perhaps, to be extreme, ridicule. To begin, I'd like, for the time being, to liberateHamlet from its historical and literary context, as well as disregard its author's intentions. Though I may defend this somewhat postmodern move by citing my ignorance of the rich historical situationHamlets of audience and the author's body of work as well as argue such knowledge would be more or less speculative, I'd rather justify my approach as follows: the experienceHamlet of changes with the times. It is an object molded by its viewer/reader, and its meaning and effect do not, in this essay, exist independently of the psychology of a contemporary audience. With the permission of my reader, I'd like to pursue my interpretation of deathHamlet in within such a 1 Published by Digital Showcase @ University of Lynchburg, 2016 1 Agora, Vol. -
Metacriticism in Salman Rushdie's Short Story Yorick*
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi Hacettepe University Journal of Faculty of Letters Cilt/Volume: 35 Sayı/Number:1 Haziran/June 2018 doi:10.32600/huefd.438142 Metacriticism in Salman Rushdie’s Short Story Yorick* Salman Rushdie’nin Yorick Adlı Kısa Öyküsünde Üsteleştiri Seda ARIKAN** Abstract Salman Rushdie is mostly known for his usage of new techniques especially those of postmodernism. In his short story collection East, West, besides many postmodern techniques such as pastiche, parody, and metafiction, his focus on metacriticism is apparent in the short story titled “Yorick”. Rushdie’s “Yorick” that is based on an invented story about the character Yorick, the dead clown whose skull Prince Hamlet handles and makes his famous speech in Hamlet, appears as an example of creative metacriticism that depicts the place and function of literary criticism in a fictional work. Referring to theoretical criticisms of Hamlet, such as psychoanalysis and social theories, Rushdie uses criticism of literary criticism in his short story “Yorick”. Thus, he adds his postmodern interpretation into the analyses of literary criticism since antiquity. This study will firstly focus on the theoretical background of metacriticism, in general, and creative metacritcism, in particular. Later on, it will try to find out the traces of creative metacriticism in Rushdie’s short story “Yorick” in which he also deals with metafiction, the role of the writer, the function of the reader, writer- critic-reader collaboration, the objectivity or subjectivity of literary criticism, creative writing or creative reading, and the truth in storytelling. Analysing how metacriticism operates in the story, finally Rushdie’s ideas on what literary criticism is and should be will be clarified. -
Identity and Role-Playing in Shakespeare's Hamlet
The Mask of Madness: Identity and Role-playing in Shakespeare’s Hamlet Treball de Fi de Grau Grau en Estudis Anglesos Supervisor: Dr Jordi Coral Escola Anna Fluvià Sabio June 2016 Acknowledgments Throughout the writing of this TFG, I have benefited from the advice of Dr Jordi Coral Escola. I am very grateful for his constant support, suggestions and corrections. I would also like to thank my family and friends for having been extremely supportive and encouraging during this process. Table of Contents Introduction ...................................................................................................................... 2 Madness as a Key Theme in Elizabethan Drama.......................................................... 3 The Spanish Tragedy and Hamlet ................................................................................. 4 Chapter 1: Madness .......................................................................................................... 6 1.1 Origins of his Madness ........................................................................................... 6 1.2 Assuming the Role of the Madman ...................................................................... 10 Chapter 2: Theatricality .................................................................................................. 13 2.1 Hamlet’s Role ....................................................................................................... 13 2.2 Metadramatic Elements in the Play ..................................................................... -
Hamlet As Shakespearean Tragedy: a Critical Study
SHAKESPEAREAN TRAGEDY HAMLET AS SHAKESPEAREAN TRAGEDY: A CRITICAL STUDY Rameshsingh M.Chauhan ISSN 2277-7733 Assistant Professor, Volume 8 Issue 1, Sardar Vallabhbhai Vanijya Mahavidyalaya,Ahmedabad June 2019 Abstract Hamlet is often called an "Elizabethan revenge play", the theme of revenge against an evil usurper driving the plot forward as in earlier stage works by Shakespeare's contemporaries, Kyd and Marlowe, as well as by the .As in those works avenging a moral injustice, an affront to both man and God. In this case, regicide (killing a king) is a particularly monstrous crime, and there is no doubt as to whose side our sympathies are disposed. The paper presents the criticism of Hamlet as Shakespearean tragedy. Keywords: Hamlet, Tragedy, Shakespeare, Shakespearean Tragedy As in many revenge plays, and, in fact, several of Shakespeare's other tragedies (and histories), a corrupt act, the killing of a king, undermines order throughout the realm that resonates to high heaven. We learn that there is something "rotten" in Denmark after old Hamlet's death in the very first scene, as Horatio compares the natural and civil disorders that occurred in Rome at the time of Julius Caesar's assassination to the disease that afflicts Denmark. These themes and their figurative expression are common to the Elizabethan revenge play genre in which good must triumph over evil.Throughout Hamlet we encounter a great deal of word play, Shakespeare using a vast number of multivalent terms ranging from gross puns to highly-nuanced words that evoke a host of diverse associations and images. While Hamlet can tell this difference between a "hawk and a handsaw," the play challenges the assumption that language itself can convey human experience or hold stable meaning.