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Shakespeare Hamlet És Macbeth

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Shakespeare Hamlet És Macbeth EÖTVÖS LORÁND TUDOMÁNYEGYETEM BÖLCSÉSZETTUDOMÁNYI KAR DOKTORI DISSZERTÁCIÓ “WE’LL HEAR A PLAY TOMORROW” ASPECTS OF PRE-PERFORMANCE CRITICISM IN READING SHAKESPEARE’S HAMLET AND MACBETH “HOLNAP ELŐADÁS!” A PRE-PERFORMANCE CRITICISM ASPEKTUSAI: SHAKESPEARE HAMLET ÉS MACBETH SZIGETI BALÁZS IRODALOMTUDOMÁNYI DOKTORI ANGOL IRODALOM ÉS KULTÚRA A ISKOLA KÖZÉPKORBAN ÉS A KORA ÚJKORBAN DOKTORI PROGRAM ISKOLAVEZETŐ: DR. KÁLLAY GÉZA, PROGRAMVEZETŐ: DR. KÁLLAY GÉZA, EGYETEMI TANÁR EGYETEMI TANÁR BUDAPEST, 2014 A VÉDÉSI BIZOTTSÁG TAGJAI: ELNÖK: DR. DÁVIDHÁZI PÉTER, EGYETEMI TANÁR, AKADÉMIKUS BELSŐ BÍRÁLÓ: DR. PIKLI NATÁLIA, ADJUNKTUS KÜLSŐ BÍRÁLÓ: DR. KISS ATTILA ATILLA, HABIL. DOCENS TITKÁR: DR. GELLÉRT MARCELL, DOCENS KÜLSŐ TAG: DR. ASCHER TAMÁS, A SZÍNHÁZ- ÉS FILMMŰVÉSZETI EGYETEM ELŐZŐ REKTORA PÓTTAG: DR. CSIKÓS DÓRA, ADJUNKTUS PÓTTAG: DR. ALMÁSI ZSOLT, DOCENS TÉMAVEZETŐ: DR. KÁLLAY GÉZA, EGYETEMI TANÁR 1 Table of Contents Table of Contents ...................................................................................................................... 2 Acknowledgements ................................................................................................................... 4 Introduction .............................................................................................................................. 5 What is pre-performance criticism ......................................................................................... 5 Performance and text: Aschcroft versus Mack .................................................................. 5 Meta-theatre: Calderwood ................................................................................................. 8 Presence present: Gumbrecht .......................................................................................... 13 Audience, stage, knowledge: Cavell................................................................................ 18 The phenomenology of action: Rayner ........................................................................... 22 Close reading: Ewbank .................................................................................................... 26 Theatre semiotics: Kiss .................................................................................................... 30 Performance-criticism: Worthen, Braunmuller, Kilman ................................................. 34 Towards pre-performance criticism: Dessen, Weimann and Bruster .............................. 40 So what is pre-performance criticism? Hamlet, the director and Macbeth, the actor ..... 43 Chapter One “This supernatural soliciting / Cannot be ill, cannot be good” The Dramaturgy of Transcendence ...................................................................................... 49 “His beard was grizzled, no?” (H; I; 2; 240) — The visual representation of the Ghost 49 “You should be women, / And yet your beards forbid me to interpret that you are so” (M; I; 3; 43-45) — The visual representation of the Weird Sisters ................................. 54 “Why do you start and seem to fear things that do sound so fair?” (M; I; 3; 49-50) — Burden or Desire? ............................................................................................................ 59 “I have thee not, and yet I see thee still” (M; II; 1; 35) — Potential stage representations of the task ........................................................................................................................ 64 “Do you see nothing there?” (H; III; 4; 132) — Questions of Invisibility ...................... 69 “A bold one, that dare look on that which might appall the devil” (M; III; 4; 59-60) — A (Transcendental?)Visual on the Deed.............................................................................. 72 Chapter Two “Sicklied o’er with the pale cast of thought” Action and Thought in Hamlet and Macbeth ...................................................................... 80 “The play’s the thing” (H; II; 2; 581) — From The Murder of Gonzago to The Mousetrap ........................................................................................................................ 80 “Nobler in the mind” (H; III; 1; 59) — The fear of the particular .................................. 88 “With a bare bodkin” (H; III; 1; 78) — The possibility of death .................................... 93 “Denmark’s a prison” (H; II; 2; 239) — The painful impossibility of an external position ......................................................................................................................................... 96 “That is a step on which I must fall down or else o’erleap” (M; I; 4; 48-49) — The focus of the Scottish thane ........................................................................................................ 99 2 “Nothing is but what is not” (M; I; 3; 140-141) — Fictionalized reality and realized fiction ............................................................................................................................. 102 “I’ll call upon you straight” (M; III; 1; 141) — Professionals commissioned .............. 108 Chapter Three “Hie thee hither, that I may pour my spirits in thine ear” Women on the edges of the private and the public ............................................................ 113 “Married with my uncle” (H; I; 2; 151) — Irreconcilable roles of mother and wife .... 114 “I do not know, my lord, what I should think” (H; I; 3; 104) — Ophelia under the scrutiny of the public eye............................................................................................... 118 “This have I thought good to deliver thee, my dearest partner of greatness” (M; I; 5; 9- 10) — The layers of intimacy regarding the Macbeth-couple....................................... 122 “False face must hide what false heart doth know” (M; II; 1; 82) — Background and foreground dramaturgy .................................................................................................. 126 “My most seeming-virtuous queen” (H; I; 5; 46) — Gertrude’s thematic presence in the transcendental account ................................................................................................... 128 “Leave all the rest to me” (M; I; 5; 71) / “I do not know, but truly I do fear it” (H; II; 1; 85-86) — Transcendental encounter and the lovers: inclusion and exclusion .............. 131 “It will make us mad” (M; II; 2; 37) —Murder, madness, connection and alienation .. 134 “Sweet Gertrude, leave us too” (H; III; 1; 28) — The enforced absence of Gertrude .. 137 “Ophelia, walk you here” (H; III; 1; 43) — The enforced presence of Ophelia ........... 140 “And I, of ladies most deject and wretched” (H; III; 1; 157) — Ophelia’s soliloquy ... 144 “Madam, how like you this play?” (H; III; 2; 224) — The female characters as audience ....................................................................................................................................... 146 “Would it were not so, you are my mother” (H; III; 4; 15) — Gertrude’s “amnesia” .. 153 “More needs she the divine than the physician” (M; V; 1; 64) — Madness ................. 157 “She should have died hereafter” (M; V; 5; 16) — The dramaturgy of deaths ............. 160 Chapter Four “We with wisest sorrow think on him together with remembrance of ourselves” The aspects of regicide regarding Claudius and Macbeth ................................................ 165 “Now I am alone” (H; II; 2; 543) — The possibility of soliloquies .............................. 166 “There’s blood upon thy face” (M; III; 4; 11) — Sin and glamour ............................... 168 “His title hang loose about him” (M; V; 2; 20-21) — Replacing the previous king ..... 173 “Frightened with false fire?” (H; III; 2; 260) — Confrontation with the deed ............. 178 “Pray can I not” (H; III; 3; 38) — Help expected from heavenly forces ...................... 182 “How now, you secret, black, and midnight hags!” (M; IV; 1; 47) — Help expected from demonic forces ...................................................................................................... 191 “O yet defend me friends” (H; V; 2; 329) — Battle for and against stage dominance . 196 Conclusion ............................................................................................................................. 204 Bibliography .......................................................................................................................... 216 3 Acknowledgements I would like to express my deep gratitude to my supervisor, Professor Géza Kállay, who encouraged me to write this dissertation, and to be brave enough to bring in new perspectives into my discussions of drama, to create “pre-performance criticism” and to apply theatrical thinking in literary analysis. I also wish to acknowledge his great help in standing Claudius to my Hamlet-production at the university. He has always given me his full support both professionally and personally, which I will always be grateful for. I would also extend my thanks to my second supervisor, Andrea Fullajtár, leading actress of Katona József Színház, who provided me with the opportunity of exploring dramatic characters from inside, and with whom I had the opportunity to personify the characters I wanted to discuss in my dissertation and who, with her supportive strict approach, helped me immensely. Special thanks should be given to those who have significantly shaped my attitude towards dramatic texts,
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