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Hamlet + Dracula & the Bloody Chamber

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Hamlet + Dracula & the Bloody Chamber 2 0 1 9 Hamlet Dracula & The Bloody Chamber EASTER WORK Tick when Week 1 – Securing the Knowledge complete D & TBC: Secure your knowledge - Use knowledge organisers to ensure you are secure on the basics Monday 8th - Make revision cards of any phrases that you like, knowledge April you feel is not secure (including the plot) and link to quotations from the texts - Watch Massolit on Dracula and TBC Hamlet: Secure your Knowledge - Secure your knowledge of the text and order of plot. Read over Tuesday 9th the scene notes you have. April - Group three quotations for each character - Five words for tone for each character - Massolit – John McCrea and the soliloquies Wednesday D & TBC: Re-read the introductions from both texts 10th April - Take notes and make revision cards as appropriate Hamlet: Critical Interpretations - Revise the critical interpretations on page 3-5. If you are unclear on these, make notes and revision cards. Thursday 11th - Have a well-phrased sentence you learn for each critic April - Link critical interpretation to film version and quotation from text - For fun extra revision – you could watch some of these interpretations! D & TBC Secure Critical Interpretations - Revise context booklets to ensure you have a sense of overview of interpretation over time. This will be helped by your recent read of the introductions. CORE KNOWLEDGE IS: Dracula – Stoker’s life, Daily Mail 1897, Punter, Frayling, Craft, Friday 12th Arata, Stoker’s ‘On Censorship’ essay. April TBC – Carter’s words about her work, Helen Simpson’s introduction, Marina Warner, Frayling, Helen Stoddart, Lorna Sage, Patricia Duncker - Watch/re-watch Massolit lectures to secure this knowledge - Have a well-phrased sentence you learn for each critic: test yourself. 1 Tick when Week 2 – Essay Writing using Resources from Week 1 complete Hamlet Section B: Plan - Spend the full hour planning - ‘It is sometimes said that chance, not Hamlet, brings the plot to a Monday 15th resolution.’ April - Use the essay plan on page 9 to help you revise - Use your target from the mock exam - Use marking essays to help you too. D & TBC Essay Planning CHOOSE one of the essays. Look at what the examiner said and indicative exam content. Page 10 and 11 Tuesday 16th - Get started with the comparative phrases on page 13 April - Use your feedback from self-assessment of essay 1 to improve. - You must include other Gothic texts and influences and interpretations. HAMLET: Timed Writing – Section B chance brings resolution - Use your feedback from self-assessment of essay 1 to improve. Wednesday - Write essay in 40 minutes. 17th April - Self-assess and annotate like you would a marking essay - Go back to marking essays if helpful D & TBC Timed Essay - this is writing the essay planned on Tuesday Thursday 18th - Ensure you use your target and feedback from the mock April - Ensure you make sure you link to the Gothic and interpretations over time HAMLET: Timed Writing – Section A Page 7 & 8 - Use your mock target and feedback Friday 19th - Ensure you use some of the key words for language, drama April and structure - Make sure you use words for tone It is really important to stay on top of this and do an hour each day. This WILL make you feel better and really prepared. If you get stuck, can’t remember your login for massolit or are unsure – do not feel embarrassed – email [email protected] or [email protected] 2 Hamlet – ESSENTIAL DIFFERENT INTERPRETATIONS Peter Hall, famous director: “Hamlet is one of mankind’ s great images. It turns a new face to each century, even to each decade.” (1967 lecture) C19th Hamlet mirrored the Romantic obsession with self-conscious musing and Romantic introspection views Coleridge “I have a smack of Hamlet myself” Schlegel “a tragedy of thought inspired by continual and never-satisfied meditation” Byron “[Hamlet is] a colossal enigma. We love Hamlet as we love ourselves” yet he is at points “fiend-like in cruelty” Early C20th Early C20th focus was on Hamlet as a play which lent itself to psychological views discussion and psychoanalytical analysis. Critics often focused on Hamlet as a real character (rather than a dramatic construct) and the reasons for his procrastination. Freud, reading the play from a psychoanalytical perspective, saw the cause of Hamlet’s deep-seated malaise in his repressed desire to kill father and marry his mother (called the Oedipus complex because of Sophocles’ play Oedipus Rex) It is worth bearing in mind that this is one interpretation which must be seen within the context of early C20th ideas about the divided self, and it is quite a dated critical idea. (Emma Smith: “Freud read Shakespeare, but Shakespeare didn’t read Freud”, in other words, Freud was interpreting the play through a very specific lens of fin de siècle fears about the self.) Laurence Olivier’s film adaptation (1948) was based on Olivier’s 1937 role on stage as Hamlet and was greatly influenced by Freud’s interpretation. It “stripped the play of its political elements (no Fortinbras) and instead presented Hamlet as an alienated and hollow individual”. The castle of Elsinore represented as place of labyrinthine shadows and passageways, symbolising the internal thought processes of Hamlet’s mind. A.C. Bradley (an influential Shakespeare scholar) tended to see Hamlet as a real character rather than a dramatic construction and consequently, focused on Hamlet’s motivations and psychology. “[Hamlet’s melancholy makes him a mystery and] Wherever this mystery touches us, wherever we are forced to feel the wonder and awe of man’s godlike ‘apprehension’ … and at the same time are forced to see him powerless in his petty sphere of action, … Hamlet most brings home to us at once the sense of the soul’s infinity” Post WW2 In the wake of WW2 came the sexually liberated 1960s and the Cold War. Hamlet views became associated with disaffected youth, rebelling against older systems of power and the establishment. For Jan Kott, Hamlet as the subversive voice crying out against political systems in the grip of tyranny. Jan Kott (Polish critic and director, writing under tyranny in the eastern bloc) “[Hamlet] is the youth, deeply involved in politics, rid of illusions… a born conspirator… a young rebel” Grigory Kozintsev (1964) This production is written and set in Communist Russia living in the wake of Stalinsit rule. Kozintsev is known for showing overwhelmingly the social repercussions of tragedy. Perhaps the most immediately noticeable aspect of Kozintsev’s Hamlet is the opening scene; 3 Hamlet is charging home to the funeral of his father across the country side as the black flags are unfurled down the castle walls. Capturing the sublimity of the rugged landscapes was one of the primary means through which Kozintsev was able to adhere to his self-imposed command that “the screen must be charged with the electricity of tragedy”. Kozintsev used the opportunity to alternate between the stifling claustrophobia of interior shots and the wide expanses of untrammelled landscapes in order to show the intensity of Hamlet’s whirling mind. Undeniably, a significant aspect of the tragedy is also shown through the participation of Shostakovich in composing its score – and haunting musical reflection of both Hamlet’s mind and the social chaos created through corrupt leadership. Peter Hall’s 1965 production featured David Warner’s iconic counter-cultural Hamlet. Warner was draped in a long, red scarf, a symbol of student youth drawing parallels between Hamlet and youth disillusionment with politics in the 1960s. Hall said that Hamlet was “always on the brink of actions, but … this disease of disillusionment, stops the final, committed action” Although much later, Branagh’s lavish film adaptation (1996) indirectly nodded to the wars erupting in Eastern Europe, following the collapse of communist dictatorships. Branagh’s Fortinbras is presented as cold-eyed and ruthless in his takeover coup – the ‘new order’ that he represents associated with political might and expediency. The ending features soldiers dismantling old Hamlet’s statue, signifying that one tyranny based on individual power will be replaced by another and nothing really changes. Second 1970s feminism asked questions about the sexual politics reflected in older texts, and wave and their role in shaping cultural assumptions about gender, and led to later critics late C20th exploring how women are presented. feminist Elaine Showalter “When Ophelia is mad, Gertrude says that “her speech is nothing” views …. Ophelia’s speech therefore represents the horror of having nothing to say” For many feminist theorists, the madwoman is a heroine, a powerful figure who rebels against the family and the social order. David Leverenz “Even in her madness she has no voice of her own, only a discord of other voices …”; “Ophelia has no choice but to say ‘I shall obey, my lord’ Emma Smith “Hamlet is arguably a male orientated play, more sympathetic to male identity… Ophelia and Gertrude are often made to fit the stereotype of tragic females as either mentally frail or a ‘shop-soiled’ maiden” The play is structured to make us sympathetic to Hamlet – it is a play of “soliloquy overload”. Modern directors sometimes draw attention to the misogynistic overtones of the play by making Gertrude “more distant, more regal, not the “beast” driven by her lust. In this case, the idea that women are deceptive and lustful is more in Hamlet’s mind” 4 Modern Later C20th criticism – the focus shifts from the earlier analysis of Hamlet’s views psychology to consider how the play fits within its context – in other words, a play which reflects cultural anxieties. These included: the Elizabethan succession crisis and fear of a foreign ruler claiming power after the queen’s death; and the spiritual crisis of doctrine and belief engendered by the Reformation.
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