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Disrupting the Symbolic Hamlet

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Disrupting the Symbolic Hamlet A Dissertation Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy (Doktorin der Philosophie) to the Department of Philosophy and Humanities (Fachbereich Philosophie und Geisteswissenschaften) Institut für Theaterwissenschaft of Freie Universität Berlin Disrupting the Symbolic Hamlet: A semiotic reading By Arooj Ehsan Berlin, 2018 1 Supervisor: Prof. Dr. Doris Kolesch Second Supervisor: Prof. Dr. Matthias Warstat Date of Defense: 12.02.2019 2 ABSTRACT Even though the eruption of Shakespeare’s Hamlet in everyday performative situations, Verities, and the Variable theatrical performative world is common, understood, and accepted over the centuries, the reasons for its return are not fully explored. Deciphering the mechanisms through which it has survived provide a good model for sprouting the contemporary theater of Pakistan. An overview or ‘thinking’ of its semiotic renditions into variegated forms, without analysis based on discrimination, helps in focusing upon some of the essentials that enable the performance text to survive through times. My work involves one such analysis. The objective of this study was to examine two questions: first, why does Hamlet constantly return in the contemporary performance? Second, is there a similar text, character or situation, in Pakistan through which we can structure the performance art of the country? To examine these questions, I explored the literary and performance texts of Hamlet as well as the literary theory, especially Affect Theory and Performance Philosophy. This study displayed a connection between history, culture, affect, and audience. In fact, I could link the Traditional Punjabi Performers of ‘Vaar’ or folk ballads with the performers affected by the strong history and culture based affective field of Hamlet. However, I found Vaari performers relied upon their voice and history based oral narrative and not on the text. This recognition suggests that Pakistan can build upon the historically popular oral narratives to frame its theater. I found that writers steeped in history and cultures of the country have already made such attempts. In future, theater of Pakistan may focus on developing, disrupting and re-performing these narratives. This dissertation highlighted the re-birth of the ‘Vaari’ as the means of reviving performance art in Pakistan. 3 Obwohl der Ausbruch von Shakespeares Hamlet in alltäglichen performativen Situationen, Verities und der variablen theatralisch-performativen Welt im Laufe der Jahrhunderte weit verbreitet ist, verstanden und akzeptiert wird, sind die Gründe für seine Rückkehr nicht vollständig erforscht. Die Entschlüsselung der Mechanismen, durch die es überlebt hat, bieten ein gutes Modell für die Entfaltung des zeitgenössischen pakistanischen Theaters. Eine Übersicht oder ein „Denken“ der semiotischen Darstellungen in verschiedenen Formen, ohne diskriminierende Analyse, hilft dabei sich auf einige der wesentlichen Aspekte zu konzentrieren, die dem Performance-Text das Überleben in den Zeiten ermöglichen. Meine Arbeit beinhaltet eine solche Analyse. Ziel dieser Studie war es, zwei Fragen zu untersuchen: Erstens, warum kehrt Hamlet ständig in die zeitgenössische Performance zurück? Und zweitens, gibt es in Pakistan einen ähnlichen Text, Charakter oder eine ähnliche Situation, durch die wir die Performance-Kunst des Landes strukturieren können? Um diese Fragen zu untersuchen, habe ich die literarischen und Performance-Texte von Hamlet sowie die literarische Theorie, insbesondere die Affekttheorie und die Performance-Philosophie, untersucht. Diese Studie zeigte einen Zusammenhang zwischen Geschichte, Kultur, Einfluss und Publikum. In der Tat könnte ich die traditionellen Punjabi-Darsteller von 'Vaar' mit den Darstellern aus Hamlet in verbindung bringen, die von der starken Geschichte und Kultur des affektiven Feldes von Hamlet betroffen sind. Ich fand jedoch, dass Vaari-Darsteller sich auf ihre Stimme und Geschichte stützten, basierend auf mündlichen Erzählungs und nicht auf den Text. Diese Erkenntis legt nahe, dass Pakistan auf den historisch populären mündlichen Erzählungen aufbauen kann, um sein Theater zu gestalten. Ich fand heraus, dass Schriftsteller, die mit der Geschichte und Kultur des Landes vertraut sind, bereits solche Versuche unternommen haben. In Zukunft kann sich das Theater in Pakistan darauf konzentrieren, diese Erzählungen weiter zu entwickeln, zu variieren und wiederzugeben. In dieser Dissertation wurde die Wiedergeburt des "Vaari" als Mittel zur Aktivierung der Performance-Kunst in Pakistan thematisiert. 4 Contents ABSTRACT ............................................................................................................................... 2 List of Figures: ........................................................................................................................... 6 INTRODUCTION ..................................................................................................................... 7 1.1 Performance Philosophy: ............................................................................................... 11 1.2 Affect Studies: ................................................................................................................ 20 1.3: Inter-Affectivity ............................................................................................................ 22 1.4 HistoAffective Field ....................................................................................................... 23 1.5: Anticipatory Spectators ................................................................................................. 25 1.6. Vaar: Traditional Punjabi Performance Art .................................................................. 29 1.7 Merging together ............................................................................................................ 34 PART 2: ................................................................................................................................... 35 Chapter 1: ............................................................................................................................. 36 Müller’s Hamletmaschine: From Vitruvian Spectators to Vitruvian Spect-actors and directors. ............................................................................................................................... 36 Part A: Introduction ......................................................................................................... 36 Part B: Textual Analysis of Heiner Müller’s Hamletmaschine ........................................ 39 Chapter 2: ............................................................................................................................. 63 Hamletmaschine By Heiner Müller and Robert Wilson ...................................................... 63 Chapter 3: ............................................................................................................................. 75 Hamlet: A Monolgue ............................................................................................................ 75 Chapter 4: ............................................................................................................................. 85 Suleyman Al Bassam’s Hamlet ............................................................................................ 85 Chapter 5: ........................................................................................................................... 101 Peter Zadek’s Hamlet ......................................................................................................... 101 Chapter 6: ........................................................................................................................... 107 Blixa Bargeld’ Hamletmaschine as a Tesseract performance ............................................ 107 PART 3: ................................................................................................................................. 116 Chapter 1: Pakistan and its Theater .................................................................................... 116 1.1 Introduction: ............................................................................................................. 116 1.2 The Human Voice: .................................................................................................... 116 1.2.1. The construction of plurality around the performance text with the human voice ........................................................................................................................................ 120 5 a. Historical Background ............................................................................................ 120 Pre-colonial times: .......................................................................................................... 120 Colonial era: ................................................................................................................... 126 Contemporary Commercial Theater: .............................................................................. 139 Interview Kamran Shahid with Sohail Ahmad ............................................................... 143 1.2.2. Sites of Performances for the authentic human voice .......................................... 148 a. A short Historical Perspective of Sites of Performance: ............................................ 148 1. Bargah: ...................................................................................................................
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