Hamlet as a Transformed Character in Aki KAURISMAKI'S Adaptation of Hamlet (original) (raw)
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Cankaya University Journal of Humanities and Social Sciences
Considered to be affective mediums exercising powers changing the humoral balances of bodies, theatre plays have been severely attacked on the grounds that they provoke strong emotions by early modern critics such as Stephen Gosson and Philip Stubbes in the Shakespearean period. According to Stephen Gosson, for instance, due to their emotional and physiological impact theatre performances weakened and undermined audiences’ capacities to reason and judge; and thus, needed to be prohibited altogether. This study provides a detailed analysis of the Hecuba speech (II, ii) in Shakespeare’s Hamlet. Through the Player’s and Hamlet’s reactions to the Hecuba-speech, it will discuss the characters’ attitudes towards theatre and comment on early modern theatre debates. The study will further discuss William Shakespeare’s stand on the affective potential of theatre in times when theatre plays have been considered contagious and altering the balance between minds, passions and bodies.
Struggle for Meaning and Order in Hamlet and Othello Hamlet ve Othello'da Anlam ve Düzen Mücadelesi
Tragedy is about torn-apart forces that influence human emotions and desires. The tragic heros are in defeat of making sense of their world in Shakespeare's tragedies Hamlet and Othello. This paper will try to examine the three phases Hamlet and Othello experience--alienation from the world by facing its meaninglessness, struggling for making sense through acting against their natures, and reconciliation (a redemption towards meaning) with their worlds in the end--focusing on the fact that though these men suffer through emotional and moral dissolution that lead them to question their beings, and consequently, carry the imperative to act--to take revenge--as tragic heroes. In the end, they have the power to create something new out of nothing. In other words, they gain awareness of life which has once been insignificant.
The texts of Hamlet (Shakespeare Jahrbuch 153, 2017, 242-245)
Review of: Terri Bourus, Young Shakespeare’s Young Hamlet: Print, Piracy, and Performance. New York: Palgrave Macmillan, 2014. Margrethe Jolly, The First Two Quartos of Hamlet: A New View of the Origins and Relationship of the Texts. Jefferson, NC: McFarland, 2014. Zachary Lesser, Hamlet After Q1: An Uncanny History of the Shakespearean Text. Philadelphia: U of Pennsylvania P, 2015.
Absürd Tiyatronun öncüsü olarak Shakespeare'in Hamlet'i
2008
Being regarded as a dramatist of all times, Shakespeare and his work is studied with a modern view point by many critics. Every historical period finds in him what it is looking for and what it wants to see. Shakespeare is part of a modern tradition trying to mirror human psychology and condition in all its absurdity. The innovations that the theatre of the Absurd has brought to the stage not only provide an influence for the works of the later generations but also, they make it possible to look back at the past works of the theatre with a contemporary critical eye. Shakespeare’s vision of the world is similar to that of the absurdists, mainly due to their shared confidence in humanity’s capacity to endure, and the precarious nature of human existence. This thesis analyzes Shakespeare’s masterpiece Hamlet, mainly the drama of its protagonist, as a precursor of Absurd drama. In Hamlet, Shakespeare represents man’s existential anxiety and precarious condition in a nonsensical world, w...
Adapting Hamlet to the Turkish Screen
Dialogues between Media, 2021
This article examines the only Turkish cinematic adaptation of Hamlet to date, entitled Kadın Hamlet: İntikam Meleği [Lady Hamlet: The Angel of Vengeance] (1976), which replaces the role of Hamlet with a strong and determined female character. It is set against the background of a modernizing Turkish state, but still within a culture that showed some resistance to such modernity. This study examines how the director employs certain motifs, devices, and strategies (such as the use of classical music or westernized styles of dressing) to forward a modernizing agenda for the film. In particular, the idea of longing for an absent father (Atatürk and Hamlet's father) and contempt for the various puppets which have replaced him in politics (represented by Claudius and Polonius) is a key aspect of this adaptation. The 1976 film is analysed here in a wider historical context of Turkish Hamlets that have been adapted, staged, and produced in different genres and media with the modernizing aims of the Kemalist state in mind.
Anglia, 2019
In the past, the differences between Q1, Q2 and F1 of Hamlet have resulted in heated debates among Shakespeareans as to which of these is the most 'authentic'. Unsurprisingly, and given the lack of surviving manuscripts by Shakespeare, scholars and editors have come to the conclusion that the "textual history of Hamlet is full of questions and largely empty of clear answers" (Thompson and Taylor 2006: 76), as Ann Thompson and Neil Taylor concede in their Arden edition of the play. Thompson and Taylor view each of the versions "as an independent entity" (Thompson and Taylor 2006: 92) and decided against editing a conflated version. Instead, they opted for publishing all three versions independently in two volumes, a decision that has led to mixed reactions among reviewers. 1 In dealing with the differences between the three versions of the play, Martina Bross's study Versions of Hamlet: Poetic Economy on Page and Stage (her doctoral thesis, which originated as part of a Research Training Group on Ambiguity at the University of Tübingen and was completed in 2016) confronts the same textual problem but with a different agenda. Bross is not interested in finding the 'real' or even "to reconstruct an 'ideal' Hamlet" out of the different versions, nor is she interested in the still ongoing debate at what point a performance of a play strays too far from an assumed 'original' and becomes an adaptation. Instead, she is interested in the functionality of the textual differences: the cuts, omissions, additions and alterations that differentiate not only the Q1-, Q2-and F1-texts, but also 24 selected stage versions of the play recorded in prompt books from the late 17 th to the early 21 st century. Bross "assumes that the differences found in versions of Hamlet are the results of 'trade-offs,' that is the result of a process in which decisions are made, for instance, by the playwright, by the actor manager or
Dramaturgy of the Acting Version of the First Quarto of Hamlet
It is relatively known that the First Quarto of Hamlet (1603), the first text ever printed in which the tragical history of the Prince of Denmark is related to the playwright William Shakespeare, presents a version notably different from the one commonly known, from the standard version which is reflected in the texts of the Second Quarto (1604/5) and the First Folio (1623).
Sederi VII (1996): 201—215 Dramaturgy of the Acting Version of the First Quarto of Hamlet
2015
It is relatively known that the First Quarto of Hamlet (1603), the first text ever printed in which the tragical history of the Prince of Denmark is related to the playwright William Shakespeare, presents a version notably different from the one commonly known, from the standard version which is reflected in the texts of the Second Quarto (1604/5) and the First Folio (1623). Among its most striking differences we could point out the following. It is a much shorter ver-sion, 2,220 lines, just over half as long as the Second Quarto (the longest textual version) or any modern critical edition. Variation in dialogue ranges from passages of total similitude, paraphrases, to fragments unique to the First Quarto (about 130 lines), together with a number of transpositions and echoes. Some characters bear different names, for instance, Corambis for Polonius, Montano for Reynaldo1, or Rossencraft and Gilderstone for Rosencrantz2 and Guilderstern. There are important structural differences, es...