YORICK Fades Away. SCENE 5 INT. ELSINORE CASTLE / HALLWAY CLAUDIUS Leaves His Chambers to Find GERTRUDE in the Hallway. CLAUDIU

Total Page：16

File Type：pdf, Size：1020Kb

YORICK Fades Away. SCENE 5 INT. ELSINORE CASTLE / HALLWAY CLAUDIUS Leaves His Chambers to Find GERTRUDE in the Hallway. CLAUDIU

"SKULLDUGGERY: THE MUSICAL PREQUEL TO HAMLET" 1. YORICK fades away. SCENE 5 INT. ELSINORE CASTLE / HALLWAY CLAUDIUS leaves his chambers to find GERTRUDE in the hallway. CLAUDIUS (re: the mangosteen) Gertrude. You left something behind. GERTRUDE That Polonous.. Many thanks. And...I know what you’d say, Claudius. ‘Twas foolish of me to share that silly old song with Ophelia, dangerous even... Do accept my pardon. CLAUDIUS No. GERTRUDE “No?” ’Tis a brief answer. CLAUDIUS Brief enough to be understood. GERTRUDE So you reject my pardon then? CLAUDIUS Only as one might reject a snow storm in July or a sun gone black - anything that betrays its own nature. GERTRUDE Suns go black behind shifting spheres - that tis a law of nature. CLAUDIUS Yet an eclipse portends doom, topples empires - tis a black law then. GERTRUDE Enough metaphors! I don’t even know what we’re talking about, but I do know eclipses spawn gossip. Nothing more. To spare us both that, I take my leave of you. She tries to leave again, this time CLAUDIUS leans against the wall, GROANING dramatically. "SKULLDUGGERY: THE MUSICAL PREQUEL TO HAMLET" 2. GERTRUDE (CONT’D) Art thou ill? CLAUDIUS Tis most strange. Twenty-three years I never swooned. Never once fell. But hearing thy song again, I am sick for the decades wasted. GERTRUDE We made our choices. CLAUDIUS Aye, and another choice must be made now for soon I am leaving Denmark. GERTRUDE Leaving? But...We couldn’t bear that... CLAUDIUS Join me then. I have allies in England. Friends to keep us safe... GERTRUDE What? I... (Beat) No. CLAUDIUS Just “no?” GERTRUDE (Cold) ‘Tis brief enough to be understood. KING HAMLET enters. By his poker-face it is impossible to know how much he overheard. KING HAMLET Claudius. Has that old condition of thine returned? GERTRUDE He was merely giving me this gift from Polonious. KING HAMLET Gifts. And then? GERTRUDE And then...I was preparing to go... "SKULLDUGGERY: THE MUSICAL PREQUEL TO HAMLET" 3. KING HAMLET Then go. (They exchange a look and she goes.) So Claudius. Do you have a gift for me? CLAUDIUS This life. It isn’t who I am anymore. Therefore, I ask my King to grant me leave from Elsinore and I pray he will forgive me. KING HAMLET stares. CLAUDIUS turns to go KING HAMLET STOP. So where are you retiring? The gardens of France? England perhaps? You really have no idea, do you? (KING HAMLET bursts out laughing.) Good for you. It appears you’ve finally learned to seize the day. Allow no one to get in your way. CLAUDIUS I won’t. CLAUDIUS makes to leave again. KING HAMLET Damn shame! Tonight we feast the 30th Anniversary of our defeat of Fortinbras. Attend, brother, and then after, depart with Our blessings? CLAUDIUS I shall. KING HAMLET waits... CLAUDIUS (CONT’D) ...I shall, Your Majesty. Thank you. KING HAMLET smiles and sweeps out. CLAUDIUS watches him before he walks in the other direction..

Copy Link

Recommended publications

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
[Show full text]
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King .
[Show full text]
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.
[Show full text]
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.
[Show full text]
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 .....................................................................
[Show full text]
Alas Poor Yorick. Hamlet and Kristeva's Maginary Father
E. Denbo / PsyArt 21 (2017) 143–158 ‘Alas Poor Yorick!’: Hamlet and Kristeva’s Imaginary Father Elise Denbo Queensborough Community College City University of New York Most psychological approaches interpret Shakespeare’s Hamlet within a Lacanian/Oedipal revenge narrative. This paper, however, explores Shakespeare’s Hamlet through theories of Julia Kristeva, who develops a term called ‘the imaginary father,’ which she revisions from Freud’s ‘father of individual prehistory.’ The notion of an archaic/imaginary father as a hybrid locus (a mother-father amalgam) within the semiotic domain not only introduces new perspectives to consider the role of fatherhood but also the affective (and material) nature of transference/countertransference in Shakespeare’s plays. The dramatization of Hamlet’s “inner mystery” as opposed to his outer “show” has not been explored as an intrapsychic activity regarding an archaic father of imaginary ambivalence. Despite the scene’s brevity (5.1), considering Yorick as Hamlet’s father of individual prehistory reconfigures symbolic mastery to explore the unfolding development of Shakespearean character as a metaphorical process, a presymbolic activity rather than fixed representation, dramatizing the corporeal struggle for psychic and creative space. To cite as Denbo, E., 2017, ‘‘Alas Poor Yorick!’: Hamlet and Kristeva’s Imaginary Father’, PsyArt 21, pp. 143–158. Most playgoers are familiar with the unique encounter between Hamlet and Yorick, the long departed court jester unearthed from his grave, that Shakespeare positions in counterpoint to the early appearance of King Hamlet’s ghost, an event which combined with his mother’s sudden marriage to his uncle sets the play in motion.
[Show full text]
Hamlet Haven: an Online, Annotated Bibliography
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-19-2002 Hamlet Haven: An Online, Annotated Bibliography Harmonie Loberg University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Loberg, Harmonie, "Hamlet Haven: An Online, Annotated Bibliography" (2002). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1524 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Hamlet Haven: An Online, Annotated Bibliography Abstract Title Page Abstract by Thesis Approval Harmonie Loberg Enter Hamlet Haven A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English College of Arts and Sciences University of South Florida Date of Approval: November 19, 2002 Major Professor: Sara Deats, Ph.D. Member: Joseph Moxley, Ph.D. Member: Gary Olson, Ph.D. Keywords: Drama, Renaissance, Literary Criticism, Mousetrap, Shakespeare, Gertrude, The Ghost, Claudius, Yorick, Horatio, Ophelia, Polonius This website is for educational purposes. All information Copyright © 2002 Harmonie Loberg Contact the author at [email protected] (remove the X to send email) Site design by [email protected] (remove the X to send email)
[Show full text]
Gertrude's Role in <I>Hamlet</I>
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2013 Gertrude's Role in Hamlet Emily Graf Follow this and additional works at: http://commons.emich.edu/honors Part of the English Language and Literature Commons Recommended Citation Graf, Emily, "Gertrude's Role in Hamlet" (2013). Senior Honors Theses. 359. http://commons.emich.edu/honors/359 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. Gertrude's Role in Hamlet Abstract Typically, Gertrude's character in productions of Hamlet has been limited by her guilt and sexuality. However, lacking the social and political conventions that confined Elizabethan England, it would seem that there is another possible interpretation of Hamlet's mother. Degree Type Open Access Senior Honors Thesis Department English Language and Literature First Advisor Craig Dionne Keywords Queen Elizabeth, Patriarchy, Gertrude's Guilt, Independent and Moral Being, Elizabethan Law Subject Categories English Language and Literature This open access senior honors thesis is available at DigitalCommons@EMU: http://commons.emich.edu/honors/359 GERTRUDE'S ROLE IN HAMLET By Emily Graf A Senior Thesis Submitted to the Eastern Michigan University Honors College In Partial Fulftllment of the Requirements for Graduation With Honors in English Language, Literature, and Writing Approved at Ypsilanti, Michigan, on this date: fVl 'J.:{ 1-- ~ 1 1,c:? IJ 2 Table of Contents Introduction 3 How are women regarded in Elizabethan England? 5 Part One: How is Gertrude read and why? 16 Part Two: What is Gertrude actually guilty of? 25 Part Three: How should Gertrude be read? 32 Conclusion 46 Bibliography 47 3 Introduction Although much has changed in the way that we read, v1ew, and understand literature in the past 400 years, it often seems as though some things have stayed the same.
[Show full text]
Hamlet Act Three, Scene One 44. Claudius and Polonius Hide to Spy
Hamlet Act Three, Scene One 44. Claudius and Polonius hide to spy on whom? Ophelia and Hamlet 45. During Hamlet’s famous “to be or not to be” speech, what is he contemplating? Suicide 46. How does Hamlet insult Ophelia? Tells her to go be a prostitute 47. Does Hamlet know they are being watched? Not at first; he figures it out when he hears a noise. Ophelia lies to him when he asks her where her father is. 48. What does Claudius think is the cause of Hamlet’s madness? What does Polonius think? Claudius thinks he is plotting something. Polonius still thinks he is in love with Ophelia. Act Three, Scene Two 49. What is Hamlet hosting for the royal court of Denmark? A play called The Murder of Gonzago. 50. What does Hamlet ask Horatio to do for him? He asks him to watch Claudius’ reactions to the play. 51. Who does Hamlet sit with during the play? Ophelia; he also makes very inappropriate comments to her. 52. What does Hamlet say is the name of the play? The Mousetrap. 53. What is Claudius’ reaction to the play? He gets upset and storms out; he calls off the rest of the performance. 54. Hamlet says to Rosencrantz and Guildenstern: “Why do you think I am easier to be played upon than a pipe?” Why does he that? What does he mean? He knows they are trying to get information out of him. He thinks that they are insulting his intelligence. 55. Who wants to see/speak with Hamlet at the end of scene two? Gertrude Act Three, Scene Three 56.
[Show full text]
Whose Castle Is It Anyway? : Local/Global Negotiations of a Shakespearean Location
Multicultural Shakespeare: Translation, Appropriation and Performance vol. 15 (30), 2017; DOI: 10.1515/mstap-2017-0009 ∗ Anne Sophie Refskou Whose Castle is it Anyway? : Local/Global Negotiations of a Shakespearean Location Abstract: Kronborg Castle in the Danish town of Elsinore is a location strongly associated with Shakespeare thanks to the setting of Hamlet. It is a place where fiction currently eclipses history, at least in the context of a cultural tourist industry where Shakespeare’s name is worth a great deal more than Danish national heritage sites. Indeed, Kronborg is now widely marketed as ‘Hamlet’s Castle’ and the town of Elsinore has acquired the suffix ‘Home of Hamlet’. This article examines the signifiers implied in the naming and renaming of Kronborg as a Shakespearean location, while also looking at its unique international Shakespearean performance tradition, which spans two centuries. It describes how the identity of the castle has been shaped by its Shakespearean connection against the backdrop of changing ideologies in the twentieth and twenty-first centuries, and poses questions as to how this identity may continue to develop within the current contexts of renewed nationalism in Europe and the world. Keywords: Hamlet, Elsinore, Kronborg, globalization, nationalism, borders, inter- culturalism. Something have you heard of Hamlet, Prince of Denmark’s transformations and of the manifold interpretations which have confused us and confuse us still. Is he a Dane? A countryman of yours?1 Kronborg Castle in Elsinore has acquired most—if not all—of its international fame thanks to Shakespeare. Every year tourists flock to the small port town on the east coast of Denmark to see the rather magnificent fortified castle associated with Hamlet.
[Show full text]
Evidence That Men in the Play Have Power Over ... -.:: GEOCITIES.Ws
Evidence that the men in the play have power over the women in the play: * Act I, scene ii, line 145, 151 * Act I, scene ii, line 146 * Act I, scene iii, line 33 * Act I, scene iii, line 85 * Act I, scene iii, line 104 * Act I, scene iii, line 136 * Act II, scene ii, line 33 * Act II, scene I, line 85 * Act II, scene ii, lines 108-109 * Act III, scene I, line 29 * Act III, scene I, line 37 * Act III, scene ii, lines 111-112 * Act III, scene ii, lines 172-174 * Act III, scene iv, lines 1-2 * Act III, scene iv, lines 18-19 * Act III, scene iv, line 182 * Act III, scene v, line 75 * Act III, scene v, line 85 * Act III, scene v, lines 159-160 * Act IV, scene v, line 123 * Act IV, scene v, line 129 It is quite obvious, evidenced by the presence of the lines listed above, that the men in William Shakespeare's play, Hamlet have power over the women in the play. From the very beginning of the play, one notices that Hamlet is heavily dominated by male characters, as there are only two women in the entire play- Gertrude and Ophelia. All of the text that has been collected to support the preliminary thesis deals directly with these two women. The fact that there are only two females in the play only adds to the weakness and domination by the males of the female sex. Throughout the play, both women are told what to do, yelled at, and play a very small part in the decision-making process.
[Show full text]
Activity 4 - Adaptation
Activity 4 - Adaptation GONERIL Come, sir, I would you would make use of that good wisdom Whereof I know you are fraught, and put away These dispositions that of late transform you From what you rightly are. [King Lear, 1.iv] For economic, social and cultural reasons, Shakespeare rose to prominence in the course of the eighteenth century. The works performed, at Drury Lane and other theatres in the period were not, however, quite those that you can see in London or Stratford-upon-Avon in the twenty-first century. Rather, Shakespeare's plays were often adapted. Even if people read printed versions of the original texts at home, those they saw on the stage were often quite different. These adaptations did, however, contribute to Shakespeare's fame. Above all, they presented Shakespeare in a way that was not too unfamiliar to eighteenth-century audiences. This meant that these adaptations allowed parts of Shakespeare's works to be performed even when prevailing cultural opinions would not have suffered the full text to appear on the stage. We may criticise them for their rewriting now, and indeed some eighteenth-century critics and actors were already doing this, but we should not forget that such rewritings also kept Shakespeare on the stage, particularly in the early decades of the period. Several famous authors rewrote Shakespeare for the stage in the seventeenth and eighteenth centuries. John Dryden (1631-1700) contributed to a new version of The Tempest, called The Enchanted Island in 1667, which added a sister for Caliban, and a man, Hippolita, living on Prospero's island but who, as the direct opposite of Miranda, had never seen a woman.
[Show full text]