DOCSLIB.ORG

Kronborg Slot Vakt Til Live

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kronborg Slot Vakt Til Live Annalina Kristina Pfeil Kandidatspeciale Roskilde Universitet Studienummer: 61743 Kandidatspeciale i Historie Annalina Kristina Pfeil Studienummer: 61743 Kronborg slot vakt til live En analyse af historisk levendegørelse Vejleder: Tilde Strandbygaard Gabriel Jessen Afleveringsdato: 02. september 2019 Page 0 of 79 Annalina Kristina Pfeil Kandidatspeciale Roskilde Universitet Studienummer: 67143 Formalia: Institutnavn: Roskilde Universitet Afdelingsnavn: IKH: Historie Forfatter: Annalina Kristina Pfeil Studienummer: 61743 Titel: Kronborg Slot vakt til live – En analyse af historisk levendegørelse Title: Kronborg Castle comes to life – An analysis of living history Vejleder: Tilde Strandbygaard Gabriel Jessen Afleveret den: 02. september 2019 Antal anslag: 179.399 Sider i alt 74,7 Annalina Kristina Pfeil Kandidatspeciale Roskilde Universitet Studienummer: 67143 Dedikation og tak Min familie er hele årsagen til, at jeg har været i stand til at skrive dette speciale. Det er takket være dem, at min interesse for historie og formidling blev vækket gennem mine utallige besøg på Kronborg Slot, diverse museer og andre historiske steder både i Danmark og andre lande. De har givet mig blod på tanden til at udforske mine interesser og finde min rette hylde som historieformidler. Tusind tak til mine forældre, Kristina og Jesper, og min lillebror, Linus og ikke mindst mine bedsteforældre, Bert og Gullmaig. Dette speciale er dedikeret til jer. I har været en uundværlig støtte i hele mit liv, men især under denne lange specialeproces. Dette speciale er ligeså meget jeres, som det er mit. Tak for alt! Til slut vil jeg sige tak til de ansatte på Kronborg Slot, Laura Kiel, Jane Korsbæk Nielsen og de kvindelige slotsværter, som har taget sig tid til at besvare alle mine spørgsmål samt ladet mig følge dem rundt på deres omvisninger. Også tak til Peter Holst-Beck og Barry McKenna, skaberne af Hamlet Live, som ligeledes har taget tid ud af deres travle skema for at lade mig interviewe dem og lade mig læse deres manuskript til Hamlet Live. Uden alle dem var det aldrig lykkedes at indsamle så meget data, og dette speciale ville ikke have været blevet til noget. Annalina Kristina Pfeil Kandidatspeciale Roskilde Universitet Studienummer: 67143 Abstract: This master’s thesis is about how Kronborg Castle uses living history to mediate the castle’s history and focuses on the translation from manuscript to praxis regarding believability. The castle was built by King Frederik II of Denmark between the years 1574-1585 and is internationally known from William Shakespeare’s play Hamlet. Kronborg Castle has chosen three personas to mediate the castle’s history: King Frederik II of Denmark, Hamlet and Holger the Dane, of which the latter two are fictional. At Kronborg Castle they use living history in the form of dramatized guided tours to bring the castle to life. As such, I have chosen the dramatized guided tour The Royal Banquet as my focal point in my analysis. The Royal Banquet is performed by one of the female castle hosts dressed as the Mistress of the Robes, Beate Bille, who is based on the aforementioned historical person. The character guides the guests through the Royal Apartments and tells them about how King Frederik II is about to receive the Honorable Order of the Garter from Queen Elizabeth of England. The character also goes into details about the king’s relationship with his wife, Queen Sophie. Based on the different kinds of authenticities as conceived by Saxton & Handler, Edward Bruner and Ning Wang, I will focus on how the castle hosts portray the character of Beate Bille and what kind of choices they make to better create a story and character that seem believable to themselves and their perceived audience. I will also incorporate the concept of Hamlet Live into the analysis, to illustrate how a fictional story realizes living history at the castle. Hamlet Live runs throughout the summer months at Kronborg Castle and invites the guests into the fictional world of Shakespeare’s Hamlet with asynchronous dramatized sequences and audience interactions. The thesis concludes, that believability has many layers at Kronborg Castle; the castle hosts and Kronborg Castle each have their unique perspectives on the matter, and these do not always match. When it comes to the believability of the castle’s living history, two different authorities thereby become apparent; Kronborg Castle and the castle hosts. It is furthermore based on whether the audience is willing to accept the guided tour and the characters as being believable. Annalina Kristina Pfeil Kandidatspeciale Roskilde Universitet Studienummer: 61743 Indholdsfortegnelse FORMALIA: ................................................................................................................................... 1 DEDIKATION OG TAK .................................................................................................................... 2 ABSTRACT: ................................................................................................................................... 3 INDHOLDSFORTEGNELSE ............................................................................................................... 1 1: INDLEDNING ............................................................................................................................. 3 1.2: HISTORISK LEVENDEGØRELSE SOM FORMIDLING ................................................................................. 3 1.3: PROBLEMFELT............................................................................................................................ 6 1.4: PROBLEMFORMULERING: ............................................................................................................. 7 1.4.1: UDDYBNING AF PROBLEMFORMULERINGEN: ........................................................................................... 8 1.5: AFGRÆNSNING: ......................................................................................................................... 8 2: FORSKNINGSOVERSIGT ............................................................................................................. 9 2.1: HISTORISK LEVENDEGØRELSE OG SPØRGSMÅLET OM AUTENTICITET ......................................................... 9 2.1.1: DEN POSTMODERNISTISKE-, KONSTRUKTIVISTISKE- OG EKSISTENTIALISTISKE AUTENTICITET............................ 11 2.1.2: REFLEKSION OVER HISTORISK LEVENDEGØRELSE OG AUTENTICITET ............................................................ 14 2.2: DANSKE EKSEMPLER PÅ HISTORISK LEVENDEGØRELSE ......................................................................... 16 2.2.1: HISTORISK LEVENDEGØRELSE I PRAKSIS ................................................................................................ 16 2.2.2: REFLEKSION OVER HISTORISK LEVENDEGØRELSE I PRAKSIS ........................................................................ 22 3: METODE ................................................................................................................................. 23 3.1: KVALITATIVE INTERVIEWS ........................................................................................................... 23 3.2: PRÆSENTATION AF EMPIRI: ......................................................................................................... 24 3.2.1: INTERVIEWS .................................................................................................................................... 25 3.2.2: OBSERVATIONER AF DEN KONGELIGE FEST ........................................................................................... 26 Page 1 of 79 Annalina Kristina Pfeil Kandidatspeciale Roskilde Universitet Studienummer: 67143 3.3: ANALYSESTRATEGI .................................................................................................................... 26 4: ANALYSE AF KRONBORG SLOTS LEVENDEGØRELSE – FRA MANUS TIL PRAKSIS .......................... 27 4.1: PRÆSENTATION AF DEN KONGELIGE FEST OG HAMLET LIVE ................................................................ 27 4.2: RAMMERNE FOR FORMIDLINGEN – DET FYSISKE, HISTORISKE OG FIKTIVE GRUNDLAG ................................. 31 4.2.1: SLOTTET SOM GENSTAND – FORMIDLINGENS FYSISKE RAMMER ................................................................ 31 4.2.2: DET HISTORISKE OG FIKTIVE GRUNDLAG FOR DE TO FORTÆLLINGER ........................................................... 38 4.2.3: DELKONKLUSION .............................................................................................................................. 43 4.3: PERSONIFICERINGEN AF BEATE BILLE ............................................................................................. 44 4.3.1: FRA HISTORISK PERSON TIL FORTÆLLER ................................................................................................ 44 4.3.2: SLOTSVÆRTERNES GESTALTNING AF BEATE BILLE – KARAKTEREN VÆKKES TIL LIVE ....................................... 55 4.3.3: DELKONKLUSION .............................................................................................................................. 66 5: AFSLUTNING ........................................................................................................................... 67 5.1: DISKUSSION ............................................................................................................................ 67 5.1.1: HVEM STÅR I SPIDSEN FOR KRONBORG SLOTS TROVÆRDIGHED? .............................................................
Load more

Recommended publications
  • Shakespeare for Life
    Hamlet By William Shakespeare This lesson was inspired by the Macmillan Readers adaption of William Shakespeare’s original playscript. The language has been adapted and graded to make it suitable for readers at Intermediate level. It also features extracts of key speeches from the original text along with explanatory notes, plus glossaries and exercises designed to reinforce understanding post reading. The book is available with CD, as an audio book and as an eBook. Find out more here. • Order print books • Buy eBooks shakespeare for life www.macmillanreaders.com/shakespeare ©2016 Macmillan Education Hamlet TEACHEr’s NOTES LESSON OVERVIEW Level: Intermediate Length: Approximately 40 minutes Language focus: Expressions from Shakespeare’s Hamlet Learning objectives: In this lesson students complete a series of tasks that will help them to build their vocabulary and speaking skills. Students will have the chance to: • Gain an overview of the story of Hamlet and its characters • Learn a series of expressions from the play still in use today • Discuss ghosts and the supernatural and build related vocabulary • Read, analyse and practise reciting a famous speech from the play ContentS • Activity 1: Shakespeare’s Language • Activity 2: Speak Shakespeare Additional Activities: • Themed Discussion • Vocabulary Task HAMLET: TEACHER’S NOTES HAMLET: TEACHER’S shakespeare for life www.macmillanreaders.com/shakespeare ©2016 Macmillan Education Hamlet OVERVIEW OF the PLAy Key themes: Mortality, madness, ghosts, the supernatural and revenge Key characters: • Hamlet: The tragic hero of the play. Hamlet is Prince of Denmark and the son of Queen Gertrude and the late King Hamlet. Bitter and cynical and full of hatred for his Uncle Claudius.
    [Show full text]
  • TEACHING IMAGE PATTERNS in HAMLET HILARY SEMPLE, Former Lecturer at the University of the Witwatersrand
    TEACHING IMAGE PATTERNS IN HAMLET HILARY SEMPLE, former lecturer at the University of the Witwatersrand (originally published in CRUX, May 1993) In her fascinating study of Shakespeare’s imagery Caroline Spurgeon writes: The greater and richer the work the more valuable and suggestive become the images, so that in the case of Shakespeare I believe one can scarcely overrate the possibilities of what may be discovered through a systematic examination of them.' A systematic examination involving complete coverage is not possible in class or tutorial room, but many of the difficulties experienced by pupils or students in the study of Hamlet may be resolved by an analysis of some or the main image patterns in the play. First, the question, ‘what is an image?’ needs to be addressed, and the answer need not be one of great sophistication or subtlety. Many literary glossaries give the teacher a variety of definitions with which to work. The students need to grasp the fundamental idea that the dramatist creates many ‘mental pictures’ 2 in order to present ideas and concepts descriptively"3. After the group has agreed on a few working definitions of the image, pupils or students should be invited to create their own mental picture — to visualize a train travelling rapidly, kept on track, and given direction by its rails. This is to be kept in mind as a rough analogy for the movement of the play, which is kept ‘on track‘ and given direction by the image patterns created by the dramatist. In other words, the image patterns support and accompany the play’s action and plot like the rails do a train.
    [Show full text]
  • 1 | Hudson Valley Shakespeare Festival
    1 | HUDSON VALLEY SHAKESPEARE FESTIVAL TABLE OF CONTENTS OUR MISSION AND SUPPORTERS EDUCATION DIRECTOR’S STATEMENT PART ONE: SHAKESPEARE’S LIFE AND TIMES William Shakespeare Shakespeare’s England The Elizabethan and Jacobean Stage PART TWO: THE PLAY Plot Summary Who is Who: The Cast The Origins of the Play Themes A Genre Play: Revenge Tragedy or Tragedy? PART THREE: WORDS, WORDS, WORDS By the Numbers Shakespeare’s Language States, Syllables, Stress Feet + Metre = Scansion Metrical Stress vs. Natural Stress PART FOUR: HVSF PRODUCTION Note from the Director Doubling Hamlet: Full Text Vs. The HVSF Cut What to Watch For: Themes and Questions to Consider Theatre Etiquette PART FIVE: CLASSROOM ACTIVITIES Activities That Highlight Language Activities That Highlight Character Activities That Highlight Scene Work PART SIX: Hamlet RESOURCES 2 | HUDSON VALLEY SHAKESPEARE FESTIVAL HUDSON VALLEY SHAKESPEARE FESTIVAL OUR MISSION AND SUPPORTERS Founded in 1987, the Hudson Valley Shakespeare Festival's mission is to engage the widest possible audience in a fresh conversation about what is essential in Shakespeare’s plays. Both in production and in the classroom, our theater lives in the present moment, at the intersection of the virtuosity of the actor, the imagination of the audience, and the inspiration of the text. HVSF’s primary home is a spectacular open-air theater tent at Boscobel House and Gardens in Garrison, NY. Every summer, more than 35,000 patrons join us there for a twelve-week season of plays presented in repertory, with the natural beauty of the Hudson Highlands as our backdrop. HVSF has produced more than 50 classical works on our mainstage.
    [Show full text]
  • Hamlet 1/31/01 Cx and © Web Copy
    HAMLET PRINCE OF DENMARK Adapted by Peggy L. Anderson & Judith D. Anderson High Noon Books A division of Academic Therapy Publications 20 Commercial Boulevard Novato, CA 94949-6191 www.HighNoonBooks.com Table of Contents About William Shakespeare . .v The Story . .7 Prologue . .9 Act I . .11 Act II . .25 Act III . .31 Act IV . .41 Act V . .53 The Play . .63 Cast of Characters . .65 Act I . .67 Act II . .81 Act III . .87 Act IV . .99 Act V . .115 Globe Theatre . .125 About the Editors . .127 ABOUT WILLIAM SHAKESPEARE (1564-1616) illiam Shakespeare was born in Stratford-upon- Avon, a market town about eighty miles Wnorthwest of London. His father was a glovemaker and a trader in wool, hides, and grain. The family, which had eight children, while not rich, led a comfortable life. William was the third child in the family, and it is thought that he attended the Stratford grammar school where classes started at six or seven in the morning and lasted until five or six in the late afternoon. When the family’s finances declined, it became necessary for him to leave school to go to work for a local tradesman. He married Anne Hathaway when he was eighteen and she was twenty-six. They had three children, including twins. It is not known exactly when or why Shakespeare left Stratford and moved to London where he quickly became involved in the theater both as an actor and a playwright. Theaters in London were closed from 1592 to 1594 because of the terrifying plague that swept throughout Europe, so Shakespeare spent his time writing plays and publishing two long narrative poems that immediately became popular and started him on the road to fame.
    [Show full text]
  • Touring Spring 2020 Across the State of Washington by William Shakespeare | Directed by Ana María Campoy
    Touring Spring 2020 Across The State of Washington By William Shakespeare | Directed by Ana María Campoy All original material copyright © 2020 Seattle Shakespeare Company CONTENT HAMLET Welcome Letter..........................................................................1 Plot and Characters...................................................................2 Articles Why Bilingual Shakespeare?................................................................3 About William Shakespeare.................................................................4 Theater Audiences: Then and Now.....................................................5 Educator Resource Guide Resource Educator At a Glance Modern Shakespeare Adaptations......................................................7 About the Play.......................................................................................8 Themes in Hamlet.................................................................................9 Soliloquies....................................................................................11 Our Production Director’s Notes..................................................................................12 Central Components of a Día de los Muertos Ofrenda/Altar............14 Activities Cross the Line: Quotes........................................................................15 Compliments and Insults...................................................................16 Cross the Line: Themes......................................................................17
    [Show full text]
  • STUDY GUIDE to Producing Excellent Shakespeare Productions and Education Access When the Words Lived Only on the Page
    THE MISSION OF THE PHILADELPHIA SHAKESPEARE THEATRE IS “TO BE A WORLD-CLASS SHAKESPEARE COMPANY, AND TO BRING OUR EDUCATION PROGRAMS TO EVERY HIGH SCHOOL STUDENT IN THE REGION.” Each year, our education program, The Open Door Project, SCHOOL TOUR reaches 5,000–6,000 students in over 70 campuses in the Greater Our school tour brings live theatre into auditoriums, cafeterias, Philadelphia area. In the last twenty years over 80,000 high school and gymnasiums. Our 75-minute adaptations of Hamlet and HAMLET and middle school students have been served. Our curriculum is Macbeth are performed by four professional actors and are approved by 10 area school districts and complies with the common followed by a discussion with the actors. Many students say core curriculum. The Theatre received a Resolution from the City seeing the play performed live helps them to not only understand Council of Philadelphia honoring the theatre for its commitment the plot and language, but to feel emotions that they could not STUDY GUIDE to producing excellent Shakespeare productions and education access when the words lived only on the page. programming, and making both accessible to all. We also received the Excellence in Theatre Education and Community Service Award, TEACHER WORKSHOP sponsored by the Virginia and Harvey Kimmel Arts Education Fund Each fall (November) we partner with The Folger Shakespeare for The Open Door Project. Library to present The Shakespeare Set Free Workshop to demonstrate a new way of teaching Shakespeare and offer a wealth STUDENT MATINEES of practical resources for teachers. The workshop provides teachers Each school year, we offer 50 full-scale matinee performances with ACT 48 Credits, free tickets to our shows, a Page to Stage (Spring and Fall productions) complete with original music, sets Handbook, DVDs, and a flash drive loaded with teaching resources.
    [Show full text]
  • Hamlet— a Brief Review of Acts 1-2
    Hamlet— A Brief Review of Acts 1-2 Act One, Scene One Francisco, a soldier standing watch outside the gates of Elsinore Castle in Denmark, is met by Barnardo who has arrived to replace him. They are soon joined by Marcellus, another guard, and Horatio. Horatio is a scholar, and he has been brought along because Barnardo and Marcellus claim they have seen a ghost. While Barnardo describes to Horatio exactly what he has seen, the ghost appears in front of them. Horatio tries to speak with the ghost in Latin, but the ghost remains silent and then leaves. Horatio tells Barnardo that the ghost looks like the deceased King Hamlet, also known as Old Hamlet. Horatio sees that the ghost was dressed the same way as King Hamlet was when he defeated King Fortinbras of Norway. The story is that King Hamlet went to Norway and fought Fortinbras in combat. The loser agreed to yield all his land to the other king. King Hamlet beat Fortinbras and took all his lands. However, in the time since King Hamlet died, the son of King Fortinbras, known as young Fortinbras, has been gathering together troops and is threatening to attack Denmark. He wants to get his father’s lands back. The ghost enters a second time and Horatio again begs it to speak to him. Just as it seems the ghost is about to say something, a cock crows and the ghost disappears. Horatio tells Marcellus that he will inform young Hamlet, the Prince of Denmark and the son of King Hamlet, that a ghost keeps appearing in the shape of his father.
    [Show full text]
  • Forget Hamlet an Upside-Down Rewriting of Shakespeare’S Hamlet
    Forget Hamlet An Upside-Down Rewriting of Shakespeare’s Hamlet By Jawad Al-Asadi Translated from the Arabic by Margaret Litvin © 2006 Margaret Litvin Forget Hamlet - 1 Translator’s Introduction Playwright and director Jawad al-Asadi was born in 1947 in the Shi‘a holy city of Karbala, Iraq. He graduated from Baghdad’s Theatre Academy in 1974 and fled the country in 1976, beginning a 27-year exile from Ba‘thist Iraq. He earned a PhD in theatre in Bulgaria and has continued to work in Eastern Europe, Syria, Lebanon, the United Arab Emirates, and elsewhere. His creativity, ironic sensibility, and tireless devotion to his craft have made him one of the most influential directors in the Arab world today. He has won numerous honors, including the 2004 Prince Claus Award. He has written seven original plays, including the one presented here. First staged in Cairo in 1994 under the title Ophelia’s Window, the play was retitled for publication in 2000. The new title, “Forget Hamlet,” confronts the audience with a paradoxical demand. In the same breath as it reminds us of the figure of Hamlet, it asks us to forget him. Al-Asadi exploits this doubleness for dramatic irony: the audience is made to recall a previous, more impressive version of Hamlet while it watches the hapless non-protagonist on stage. Even the play’s characters feel the contrast. At one point al-Asadi’s Horatio accuses his friend: “You are not the Hamlet I know and have lived with.” Hamlet responds with infuriating blankness: “Well, maybe I should change my name.” Who is this Hamlet we are meant to forget? Let me briefly sketch the tradition of Arab Hamlet rewritings to which al-Asadi’s play responds and contributes.
    [Show full text]
  • Hamlet, Prince of Denmark Free
    FREE HAMLET, PRINCE OF DENMARK PDF William Shakespeare,Philip Edwards,Robert Hapgood,Professor Brian Gibbons,A. R. Braunmuller | 270 pages | 01 May 2003 | CAMBRIDGE UNIVERSITY PRESS | 9780521532525 | English | Cambridge, United Kingdom Hamlet, Prince of Denmark. Lamb, Charles and Mary. Tales from Shakespeare Hamlet, Prince of Denmark, has multiple woes. The ghost of his father haunts Elsinore; his uncle, Claudius, has married Queen Gertrude, his mother, and assumed the throne; and Hamlet of Norway threatens Denmark with an invading army. In order to carry this out, Hamlet feigns madness; as part of his insanity, he scorns the affections of Ophelia, daughter of Polonius, to whom he had made romantic overtures. Polonius grows concerned over the apparent insanity that has beset Hamlet and reveals it to the King and Queen. Meanwhile, Hamlet struggles to convince himself that Claudius is the murderer of his father, Prince of Denmark in an attempt to "catch the king's conscience," Hamlet convinces a traveling troupe of actors to perform a play in which the action closely resembles the events related to him by the ghost. While Prince of Denmark, judging the reaction of Claudius, is convinced of the new king's guilt, he Hamlet bring himself to slay him outright. Instead, Hamlet rebukes Gertrude with the news that she is sleeping with the Hamlet of her husband. Of course, when this news is given to Hamlet, the King sends Hamlet to England with the ostensible purpose of securing Hamlet's safety and the Hamlet of his senses. Rosencrantz and Guildenstern, two childhood friends of Hamlet's who are now little more than spies for Claudius, are to accompany him.
    [Show full text]
  • 9781616512224 S.Pdf
    TS_Int_Hamlet:-Hamlet 4/8/10 8:32 AM Page 3 | Contents | ACT 1 Scene 1 . 5 Scene 2 . .8 Scene 3 . .14 Scene 4 . .17 Scene 5 . .19 ACT 2 Scene 1 . 26 Scene 2 . .28 ACT 3 Scene 1 . 42 Scene 2 . .47 Scene 3 . .54 Scene 4 . .57 ACT 4 Scene 1 . 63 Scene 2 . .64 Scene 3 . .65 Scene 4 . .67 Scene 5 . .69 Scene 6 . .74 Scene 7 . .75 ACT 5 Scene 1 . 80 Scene 2 . .87 TS_Int_Hamlet:-Hamlet 4/8/10 8:32 AM Page 4 – INTRODUCTION – About 500 years ago, Hamlet’s father, the king of Denmark, was murdered by his own brother, Claudius. Then Claudius quickly married Hamlet’s mother, Gertrude. As the play opens, Hamlet’s father’s ghost appears and tells his son who murdered him. He urges Hamlet to seek revenge. As the play unfolds, Hamlet tries to convince himself that he should murder Claudius. This is Shakespeare’s most famous play, known for the anguished character of Hamlet. – CASTOFCHARACTERS – HAMLET, PRINCE OF DENMARK Son of the dead King Hamlet, and nephew of the present King of Denmark CLAUDIUS, PRINCE OF DENMARK Hamlet’s uncle GERTRUDE Queen of Denmark and Hamlet’s mother GHOST The ghost of Hamlet’s murdered father POLONIUS Chief adviser to Claudius HORATIO A commoner and loyal friend of Hamlet LAERTES Son of Polonius and the brother of Ophelia OPHELIA Daughter of Polonius and the sister of Laertes ROSENCRANTZ and GUILDENSTERN Former classmates of Hamlet VOLTIMAND and CORNELIUS Danish courtiers MARCELLUS, BERNARDO, and FRANCISCO Guards at the castle REYNALDO Polonius’s servant OSRIC A Danish courtier GRAVEDIGGERS, LORDS, ATTENDANTS, ACTORS, and SERVANTS TS_Int_Hamlet:-Hamlet 4/8/10 8:32 AM Page 5 ACT 1 | Scene 1 | (Francisco is at his post before the castle in Elsinore.
    [Show full text]
  • A Study of Four Film Adaptations of Hamlet
    one as Hamlet—ever exhaust the possibilities for interpretive teaching, and critical and scholarly discourse? Peering ever more closely into the monumental plays themselves (as one of my own teachers has liked to put it) gives the impression that they were founded upon shifting sands. Stephen Greenblatt writes that We want to believe, as we read the text, “This is the play as Shakespeare himself wanted it read,” but there is no li­ cense for such a reassuring sentiment. To be “not of an age, but for all time” means in Shakespeare’s case not that the plays have achieved a static perfection, but that they are creatively, inexhaustibly unfinished. (The Norton Shakespeare, p. 67, 1997) Certainly the next essays participates in that creatively frus­ trated sense of closure. For they look at Hamlet the Movie ex­ tending yet further in the direction of delayed closure the un­ settled and disturbing complexity of Shakespeare’s infinite play. k “The Abstract and Brief Chronicles of the Time” A Study of Four Film Adaptations of Hamlet Pamela T. Mitzelfeld Perhaps following Shakespeare’s lead as a successful adaptor, countless directors have taken his plays and attempted to im­ print them with their own interpretations. Amongst the texts in Shakespeare’s canon, Hamlet has become a favored cine­ matic vehicle. In his book, Shakespeare Our Contemporary, Jan 93 Kott notes that, “Many generations have seen their own reflec­ tions in this play. The genius of Hamlet consists, perhaps, in the fact that the play can serve as a mirror.” And so, consider­ ing that, as Kott says, “One can perform only one of several Hamlets potentially existing in this arch-play,” each adaptor be­ gins the task of making the play his or her own, toying with setting and costuming while dealing with the problems of ac­ quainting contemporary audiences with the nuances of Eliza­ bethan language and tackling what is probably the biggest stumbling block in adapting Hamlet for the screen: its length.
    [Show full text]
  • How Will It End? OPERA As an Approach to Prediction
    How Will it End? OPERA As an Approach to Prediction. by Jennifer L. Madiedo Submitted to the Department of Electrical Engineering and Computer Science in partial fulfillment of the requirements for the degree of Master of Engineering in Electrical Engineering and Computer Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY May 2020 © Massachusetts Institute of Technology 2020. All rights reserved. The author hereby grants MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole and in part in any medium now known or hereafter created. Author ……………………………………….................................................................. Department of Electrical Engineering and Computer Science May 11, 2020 Certified by ...................................................................................................................... Randall Davis Professor of Computer Science and Electrical Engineering Thesis Supervisor Accepted by …………...………………………............................................................... Katrina LaCurts Chair, Master of Engineering Thesis Committee 2 How Will it End? OPERA As an Approach to Prediction by Jennifer L. Madiedo Submitted to the Department of Electrical Engineering and Computer Science on May 11, 2020, in partial fulfillment of the requirements for the degree of Master of Engineering in Electrical Engineering and Computer Science Abstract Developing a computational account of human intelligence requires understanding and modeling human story understanding
    [Show full text]