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Hamletmachine” by Heiner Müller
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 8, No. 4, December 2019 DOI: 10.7596/taksad.v8i4.2381 Citation: Kolpakova, S. G., Gataullina, V. L., & Smyslova, E. V. (2019). Historical and Political Allusions in the Drama “Hamletmachine” by Heiner Müller. Journal of History Culture and Art Research, 8(4), 313-319. doi:http://dx.doi.org/10.7596/taksad.v8i4.2381 Historical and Political Allusions in the Drama “Hamletmachine” by Heiner Müller Svetlana Georgievna Kolpakova1 Veronika Lubimovna Gataullina2 Ekaterina Vladimirovna Smyslova3 Abstract In terms of postmodernism а classical plot becomes more active, mobile and begins to travel through the cultural discourses in different social and political channels, thereby indirectly achieving its full inner creative potential in the minds of "postmodern" readers. The paper focuses on Müller’s "Hamletmachine" which uses the Shakespearean plot. The authors of the article explore the new features introduced by the writer into the classic plot by placing it in postmodern principles (game, changes of meanings, rhizome, blissful ignorance of consumer society) which are woven together in a syncretic way. Müller masterfully uses these devices to transmit the political ideas and describe the history of communism and the historical events. The comparative method in combination with complex descriptive analysis of the text is chosen as the main methodology. The aim of the study is to find out what purposes and what political events Müller involves -
The Hamlet Zone
The Hamlet Zone The Hamlet Zone: Reworking Hamlet for European Cultures Edited by Ruth J. Owen With an Afterword by Ton Hoenselaars The Hamlet Zone: Reworking Hamlet for European Cultures, Edited by Ruth J. Owen This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Ruth J. Owen and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3974-4, ISBN (13): 978-1-4438-3974-7 CONTENTS List of Illustrations .................................................................................... ix Notes on Contributors................................................................................. xi Acknowledgements .................................................................................. xv Note on Translations ............................................................................... xvii Introduction ................................................................................................. 1 The Hamlet Zone Ruth J. Owen Chapter One................................................................................................. 7 Performance as Ironic Supplement: Portuguese Hamlet and -
Daubnerová's Ninth: Masterpiece
Daubnerová’s Ninth: Masterpiece by Jana Wild - Svět a divadlo, Issue 6, 2020 The title of Daubnerová’s latest independent produCtion Masterpiece is meant to be inevitably ironiC. The audienCe at the premiere undoubtedly realised that. Simultaneously, however, judging by the numerous immediate, and one Could even say moved, reactions from her Colleagues (and namely women Colleagues), the audienCe embraced Daubnerová’s performanCe as a true pinnacle of her worK - as a masterpieCe. Even numeriCal symbolism offers itself to this: performanCe number nine, the peak, after whiCh, similarly to symphonies, it is both mentally and physiCally impossible to Continue. The facts seemingly ContradiCt that, however. On one hand, Sláva Daubnerová still seems liKe a youthful middle-aged performer (40), and on the other hand, solo performanCe Can seem liKe a miCrogenre that in no way meets the Criteria nor the vastness of a symphony. Indeed, if we are to stay in the realm of theatre, the sCale of a symphony is muCh Closer to that of an opera and Daubnerová has done several of those as a direCtor and is yet to do some more. So - why the pathos? Why the sadness? Why the irony in the name? Daubnerová intended, thematized and ConCeptualised Masterpiece as her farewell from the very beginning - a farewell to her solo independent original projeCts of the singular union of an author, performer, direCtor, artist, and produCer. It is worth mentioning that she was Creating independent performanCe art projeCts every year from 2006 to 2012: Cells, Hamlet-Machine, M.H.L., Polylogue, Illuminarium, Some Disordered Interior Geometries, Untitled, after three years Solo Lamentoso (2015), and after five more her final Masterpiece. -
Exegesis for Phd in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach
Exegesis for PhD in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach INTRODUCTION In this exegesis I present my PhD project which shows the transformation from a recording of a neoclassical ballet performance Hamlet into a post-postmodern artistic dance video Hamlet Revisited. I decided to turn to my own choreography of the ballet Hamlet which premiered at the Croatian National Theatre in Zagreb in 2004, in order to revise it with a goal to demonstrate the neoclassical and the contemporary postmodern approach, following the research question: How to transform an archival recording of a neoclassical ballet performance into a new artistic dance video by implementing postmodern philosophical concepts? This project is a result of my own individual transformations from a principal dancer who choreographs the leading role for himself, into a more self-reflective mature artist as a result of aging, the socio-political changes occurring in my working and living environment, and my academic achievements, which have exposed me to the latest philosophical and theoretical approaches. Its significance lies in establishing communication between neoclassical and postmodern approaches, resulting in a contemporary post-postmodern artistic work that elucidates the process in the artist's mind during the creative practice. It complements my artistic and scholarly work and is an extension built on my previous achievements implementing new comprehensions. As a life-long ballet soloist and choreographer my area of interest is the performing arts, primarily ballet and dance and the dualism between the abstract and the narrative approaches 1 Exegesis for PhD in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach to ballet works1. -
Hamletmachine the Objective Real and the Subjective Fantasy
Tom Wendt Copywrite ©2011 Hamletmachine: The Objective Real and the Subjective Fantasy Heiner Mueller’s play Hamletmachine focuses on Shakespeare’s Hamlet, especially on Hamlet’s relationship to the women in his life and his eventual mental break. It is a vivid interpretation of Hamlet’s desire to strip himself of his subjectivity and assert his being as an object, which alludes to questions of desire, objectivity, and the machine raised in Gilles Deleuze’s and Felix Guattari’s Anti-Oedipus. ‘The actor playing Hamlet,’ as he is referred to in the text, states his desire to symbolically shift from the status of body without organs to that of a machine, thus moving from a state of pure subjectivity to a state of pure objectivity. Toward the end of a long soliloquy, ‘the actor playing Hamlet’ professes his desire: “I want to be a machine” (Mueller, 146). This simple statement grounds the perspective of the entire play, as it incorporates the desire of ‘the actor playing Hamlet’ into one parsimonious utterance; but one must not mistake parsimony for simplicity, and interpret this statement as a straightforward wish to function as a machine. His statement has larger implications than a distraught individual lamenting his own loss by wishing for the cessation of pain. It speaks to an overarching existential question on the part of ‘the actor playing Hamlet:” Why must I be? To begin the analysis of this statement, it is necessary to examine the nature of the machine and how one becomes a machine. A machine is described as “a system of interruptions or breaks (coupures). -
Heiner Müller After Shakespeare: Macbeth and Anatomy of Titus Œ Fall of Rome
YnlQb (Read and download) Heiner Müller After Shakespeare: Macbeth and Anatomy of Titus – Fall Of Rome Online [YnlQb.ebook] Heiner Müller After Shakespeare: Macbeth and Anatomy of Titus – Fall Of Rome Pdf Free William Shakespeare ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #2540392 in Books PAJ Publications 2013-01-01Original language:EnglishPDF # 1 8.90 x .70 x 5.90l, .65 #File Name: 1555541526198 pages | File size: 24.Mb William Shakespeare : Heiner Müller After Shakespeare: Macbeth and Anatomy of Titus – Fall Of Rome before purchasing it in order to gage whether or not it would be worth my time, and all praised Heiner Müller After Shakespeare: Macbeth and Anatomy of Titus – Fall Of Rome: 0 of 0 people found the following review helpful. A banquet bloodbath: Shakespeare as a contemporary Western civilization commentaryBy slam_inc.MULLER AFTER SHAKESPEARE is a new collection of Heiner Muller translations collected by PAJ Publishing and Edited and translated by Carl Weber (with additional translation by Paul David Young). Muller's most famous work is his HAMLETMACHINE an eight page deconstruction of Shakespeare's celebrated tragedy. This new volume brings to us two great new translations of Muller's other Shakespeare adaptations, MACBETH AFTER SHAKESPEARE and ANATOMY TITUS FALL OF ROME A SHAKESPEARE COMMENTARY, as well as an address: SHAKESPEARE, A DIFFERENCE. MULLER AFTER SHAKESPEARE is an indispensable read.MACBETH AFTER SHAKESPEARE (1970): Muller uses Macbeth to remark on the bloody struggle for power and its costs. That he notes Macbeth as a variation on the rise of Stalin is not that surprising. -
Hamletmachine
HAMLETMACHINE 1 FAMILY ALBUM I was Hamlet. I stood on the coast and spoke with the surf BLABLA at my back the ruins of Europe. The bells sounded in the state funeral, murderer and widow a pair, the town councilors in goose-step behind the coffin of the High Cadaver, wailing in badly-paid grief WHO IS THE CORPSE IN THE MEAT-WAGON’S STY / FOR WHOM IS THERE SUCH A HUE AND CRY? / THE CORPSE IS OF A GREAT / GIVER OF ESTATE The pillar of the population, work of his statecraft HE WAS A MAN WHO ONLY TOOK ALL FROM ALL. I stopped the corpse-train, sprang the coffin with my sword, broke it to the hilt, succeeded with the blunt remains, and distributed the dead progenitor FLESH ENJOINS HAP’LY FLESH to the surrounding faces of misery. Grief gave way to joy, joy into munching, on the empty coffin the murderer mounted the widow SHOULD I HELP YOU UP UNCLE OPEN THE LEGS MAMA. I lay on the ground and heard the world revolving step by step into putrefaction. I’M GOOD HAMLET GI’ME A CAUSE FOR GRIEF AH THE WHOLE GLOBE FOR A REAL SORROW RICHARD THE THIRD I THE PRINCEKILLING KING OH MY PEOPLE WHAT HAVE I DONE UNTO THEE LIKE A HUNCHBACK I DRAG MY OVERBRAIN SECOND CLOWN IN THE SPRING OF COMMUNISM1 SOMETHING IS ROTTEN IN THIS AGE OF HOPE LET’S DELVE IN EARTH AND BLOW HER AT THE MOON Now comes the specter who made me, the axe still in the skull. -
Shakespeare in Rushdie/Shakespearean Rushdie
ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 9–22 ISSN 0210-6124 Shakespeare in Rushdie/Shakespearean Rushdie Geetha Ganapathy-Doré University of Paris 13 [email protected] Postcolonial readers situate Shakespeare at the starting point and Salman Rushdie at the other end of the spectrum of multicultural authors who have laid claims to universality. While the fact that Rushdie’s epoch-making novel Midnight’s Children adapted for the theatre by Tim Supple, was produced by the Royal Shakespeare Company in 2003 would have come as a surprise to many, the Bard himself, his birthplace, allusions to and quotations from his work, parodic rewriting of his plots and brilliant recasting of his characters have always punctuated Rushdie’s fiction and non-fiction. The linguistic inventiveness of Shakespeare and Rushdie and the Ovidian intertext in both bring them even closer. This paper argues that the presence of Shakespeare in Rushdie may be viewed not so much as an attempt to deconstruct and subvert the canon like Angela Carter’s but rather as an unconscious effort to rival and reinvent his genius in the novel form. Rushdie’s project of tropicalizing London seems to be an ironic translation of the Shakespearean idea of “making Britain India”. Keywords: Shakespeare; Rushdie; intertextuality; postcolonial rewriting; inventiveness; fatherly text Shakespeare en Rushdie/Rushdie shakesperiano Los manuales sobre postcolonialismo ubican a Shakespeare al comienzo y a Salman Rushdie al final del espectro -
The Hamletmachine by Heiner Mueller, 1979
The Hamletmachine by Heiner Mueller, 1979 Translation: Dennis Redmond © 2001 Translation notes: Mueller’s original text quotes a number of English words and phrases. These are outlined below by rectangles, rather than an alternate font or italics, so as not to disrupt Mueller’s deliberate use of capital letters and spacing. 1 FAMILY ALBUM I was Hamlet. I stood on the coast and spoke with the surf BLABLA at my back the ruins of Europe. The bells sounded in the state funeral, murderer and widow a pair, the town councilors in goose-step behind the coffin of the High Cadaver, wailing in badly-paid grief WHO IS THE CORPSE IN THE MEAT-WAGON’S STY / FOR WHOM IS THERE SUCH A HUE AND CRY? / THE CORPSE IS OF A GREAT / GIVER OF ESTATE The pillar of the population, work of his statecraft HE WAS A MAN WHO ONLY TOOK ALL FROM ALL. I stopped the corpse-train, sprang the coffin with my sword, broke it to the hilt, succeeded with the blunt remains, and distributed the dead progenitor FLESH ENJOINS HAP’LY FLESH to the surrounding faces of misery. Grief gave way to joy, joy into munching, on the empty coffin the murderer mounted the widow SHOULD I HELP YOU UP UNCLE OPEN THE LEGS MAMA. I lay on the ground and heard the world revolving step by step into putrefaction. I’M GOOD HAMLET GI’ME A CAUSE FOR GRIEF AH THE WHOLE GLOBE FOR A REAL SORROW RICHARD THE THIRD I THE PRINCEKILLING KING OH MY PEOPLE WHAT HAVE I DONE UNTO THEE LIKE A HUNCHBACK I DRAG MY OVERBRAIN SECOND CLOWN IN THE SPRING OF COMMUNISM1 SOMETHING IS ROTTEN IN THIS AGE OF HOPE LET’S DELVE IN EARTH AND BLOW HER AT THE MOON2 Now comes the specter who made me, the axe still in the skull. -
'Hamletmachine''s Chorus of Dead Ophelias
Higgins: Rehearsal Skirts: 'Hamletmachine’s' Chorus of Dead Ophelias A feminist theatre pedagogy suggests that what we do with our bodies on the stage has the potential to reverberate and transform both the artists who make the representations and the community members who witness them.1 In March 2016, the University of North Carolina at Charlotte produced German playwright Heiner Müller’s 1977 exemplar of postmodern drama, Hamletmachine.2 Performed in the College of Arts + Architecture’s 340-seat proscenium theatre and concert space, Hamletmachine had a significant place in a theatre season that included Shakespeare’s Hamlet, as well as a workshop musical, a concert reading of a new play by Constance Congdon, and a co-production of the stage adaptation of Neil Gaiman’s Coraline with the Children’s Theatre of Charlotte. I present this essay from the position of dramaturg for this production, a role that began with framing the production as a theory-driven response to Müller’s playtext. Specifically, our production of Hamletmachine followed a feminist pedagogical framework with the potential, as Ann Elizabeth Armstrong suggests, to “transform both the artists who make the representations and the community members who witness them” by considering “what we do with our bodies on the stage.” As universities continue to place considerable value on undergraduate research across disciplines, performance faculty will be called on to design research experiences specifically for their students. Our Hamletmachine illustrates how framing an academic theatre production as research can elevate students’ experiences from passive participation to active co-investigation. In order to make space for many students to participate in the shaping of the production, we decentralized authority wherever possible. -
Brilliant Minds Wiki Spring 2016 Contents
Brilliant Minds Wiki Spring 2016 Contents 1 Rigveda 1 1.1 Text .................................................... 1 1.1.1 Organization ........................................... 2 1.1.2 Recensions ............................................ 2 1.1.3 Rishis ............................................... 3 1.1.4 Manuscripts ............................................ 3 1.1.5 Analytics ............................................. 3 1.2 Contents .................................................. 4 1.2.1 Rigveda Brahmanas ........................................ 5 1.2.2 Rigveda Aranyakas and Upanishads ............................... 5 1.3 Dating and historical context ....................................... 5 1.4 Medieval Hindu scholarship ........................................ 7 1.5 Contemporary Hinduism ......................................... 7 1.5.1 Atheism, Monotheism, Monism, Polytheism debate ....................... 7 1.5.2 Mistranslations, misinterpretations debate ............................ 8 1.5.3 “Indigenous Aryans” debate .................................... 8 1.5.4 Arya Samaj and Aurobindo movements .............................. 8 1.6 Translations ................................................ 8 1.7 See also .................................................. 8 1.8 Notes ................................................... 8 1.9 References ................................................. 9 1.10 Bibliography ................................................ 12 1.11 External links .............................................. -
Theatre Enters! the Play Within the Play As a Means of Disruption
Theatre Enters! The Play within the Play as a Means of Disruption DAVIDE GIOVANZANA 43 ACTA SCENICA Theatre Enters! The Play within the Play as a Means of Disruption DAVIDE GIOVANZANA DAVIDE GIOVANZANA Theatre Enters! The Play within the Play as a Means of Disruption DOCTORAL DISSERTATION Acta Scenica 43 2015 ISBN (print): 978-952-6670-62-1 ISBN (pdf): 978-952-6670-63-8 ISSN (print): 1238-5913 ISSN (pdf): 2242-6485 PUBLISHER: University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre © 2015 University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre and Davide Giovanzana GRAPHIC DESIGN BOND Creative Agency www.bond.fi COVER PHOTO Arttu Eloranta LAYOUT Annika Marjamäki, Edita Prima Ltd PRINTED BY Edita Prima Ltd, Helsinki 2015 PAPER Scandia 2000 Natural 240 g / m2 & Scandia 2000 Natural 115 g / m2 FONTS Benton Modern Two & Monosten Theatre Enters! The Play within the Play as a Means of Disruption DAVIDE GIOVANZANA 43 ACTA SCENICA Contents Acknowledgements 11 Abstract 13 Introduction 15 The play within the play and personal background 15 Subjects of the chapters 20 Methodology 22 Artistic research 23 The context of the play within the play; the 17th century and 20th century 25 Chapter 1: Pirandello Project, a practical and theoretical exploration of the kaleidoscopic quality of reality and the self 29 Luigi Pirandello: reality as theatrical or theatre as real? 31 Naked Masks: fragmenting the self 36 The Mountain Giants: the failure of poetry 38 The process: embodying silence and infinity 40 Mask