Showing papers on "Hamlet (place) published in 1987"
01 Jan 1987
TL;DR: In this article, the company of the Lord Chamberlain's servants balancing the books in the Globe theatre The Globe plays is described. And the plays: Twelfth Night and playhouse practice Hamlet and the actor in Shakespeare's theatre Macbeth from the tiring house.
Abstract: Part 1 The company: the Lord Chamberlain's servants balancing the books this luxurious circle - the Globe theatre The Globe plays. Part 2 The plays: Twelfth Night and playhouse practice Hamlet and the actor in Shakespeare's theatre Macbeth from the tiring house.
23 citations
Book•
05 Mar 1987
TL;DR: A list of illustrations for Hamlet and Harlequin can be found in this article, where the comic scene is described as follows: 1. Prologue - Hamlet 2. The comedy of skill 3. The four masks 4. The rest of the cast 5.
Abstract: List of illustrations 1. Prologue - Hamlet and Harlequin 2. The comedy of skill 3. The four masks 4. The rest of the cast 5. The comic scene 6. Triumph and decline 7. Epilogue 8. Bibliography 9. Notes 10. Index.
18 citations
14 citations
Book•
01 Jan 1987
TL;DR: McGee as mentioned in this paper reinterpreted Hamlet as a much bleaker, stronger, and more deeply religious play than it has usually been assumed to be, drawing a picture of a Devil controlled Hamlet in the damnable Catholic court of Elsinore and showing that the evil natures of the Ghost and of Hamlet himself were understood and accepted by the Protestant audiences of the day.
Abstract: This original and provocative reinterpretation of Hamlet presents the play as the original audiences would have viewed it-a much bleaker, stronger, and more deeply religious play than it has usually been assumed to be Arthur McGee draws a picture of a Devil controlled Hamlet in the damnable Catholic court of Elsinore, and he shows that the evil natures of the Ghost and of Hamlet himself were understood and accepted by the Protestant audiences of the day In an epilogue, McGee sums up the history of criticism of Hamlet, demonstrating the process by which the play gradually lost its Elizabethan bite
12 citations
TL;DR: Olivier's early life story is full of Shakespearean allusions: quotes, misquotes, conscious and unconscious parallels as mentioned in this paper, which reveal how central this text was in Olivier's conception of himself and in his construction of an autobiographical persona.
Abstract: That Laurence Olivier was influenced by Freud in his 1947 film of Hamlet is well known.' It is hard to miss the suggestion of Oedipal malaise in the erotic scenes between Olivier and Eileen Herlie as Gertrude, the phallic symbolism of rapier and dagger as Olivier presents them, and other indications of a robust and enthusiastic interest in psychoanalysis. It is more difficult to specify exactly how the film uses psychological ideas, and to say what it achieves by doing so. The present essay attempts a reassessment of the psychological dimension of the film, making use of several new or overlooked resources. Olivier's autobiography, Confessions of an Actor,2 provides a helpful account of the director's consultation with Ernest Jones regarding Hamlet. Freud himself had written briefly on Hamlet,3 and Jones, a prominent British psychoanalyst, had expanded Freud's suggestions into a full-scale interpretation of the play in an article first published in 1910 that was to undergo several revisions and republications, finally appearing in 1949 as Hamlet and Oedipus.4 Olivier's remarks indicate how the director understood the Freudian approach to Hamlet and establish that his use of it in the film was intentional. But the Confessions throw light on the film in more subtle ways as well. Olivier's life story is full of Shakespearean allusions: quotes, misquotes, conscious and unconscious parallels. Echoes of Hamlet are particularly frequent, and reveal how central this text was in Olivier's conception of himself and in his construction of an autobiographical persona. Finally, the Confessions offer a candid account of the psychological tensions, Oedipal and other, of Olivier's early life in ways that are relevant to his work on the Hamlet film. In fact, as I shall suggest, Olivier's treatment of the Oedipal theme in Hamlet was influenced as much by his own early memories as it was by contact with Jones. Both the elaborate visual symbolism of the film and its emphasis on the main character's alternation between passivity and grandiosity bear a close relation to early sections of the autobiography. Several aspects of Olivier's address to psychological issues in Hamlet do not conform to the Freud/Jones view, but are illuminated by other psychoanalytic texts. Oedipal conflict in the film often has a passive character, and, though Freud elaborated a theory of the negative Oedipus complex, in which conflict is resolved by a "feminine" or passive submission to the father,5 he never applied this theory to Shakespeare's play. For other aspects of the film we must turn to
9 citations
TL;DR: Schmitt as discussed by the authors argues that Shakespeare's plays should not be considered products of a free and isolated subjectivity nor artistic preserves untainted by the banalities of contemporary history, and he argues that the divisions characteristic of 19th century disciplines which prevented historical consideration of a work of art, and the attendant emphasis on the subjectivity of the artist and the sublimity of art.
Abstract: In “The Source of the Tragic,” Carl Schmitt articulates a detailed critique of autonomy aesthetics in which he rearticulates principles of his political theory — the critique of liberalism, normativism and subjectivity: decisionism. His essay can thus be read as a sort of right-wing inversion of the critique of bourgeois aesthetics expressed in Adorno's “Lyric Poetry and Society.” Schmitt belabors both the divisions characteristic of 19th century disciplines which prevented historical consideration of a work of art, and the attendant emphasis on the subjectivity of the artist and the sublimity of art. Unlike lyric poetry or even dramas written more for publication than performance, he contends that Shakespeare's plays should neither be considered products of a free and isolated subjectivity nor artistic preserves untainted by the banalities of contemporary history.
6 citations
19 Feb 1987
4 citations
TL;DR: The role of time in the elegy's complex struggles and resolution is explored in this article, where a pair of companion-pictures in Lycidas, linked by common subject rather than parallel patterning but working out their profound contrast just as carefully, offers a beginning focus for my concern in this essay.
Abstract: "Look here," says Hamlet to his mother, "upon this picture, and on this." Two kings, two brothers, two husbands of Gertrude, are shaped in the Prince's idealizing and then damning rhetoric into total antithesis. Hamlet's artistic strategy was a popular one in his time, when, as Marjorie Nicolson notes, painters frequently rendered husband and wife or brother and sister in portraits separate but parallel.1 Set against the same background and/or accompanied by the same motifs, the figures thus announce both their connection to one another and their differences (of feature, of gender and its concomitant costume and orientation, and so on). Companion-poems work the same way as companion-pictures, shared patterns and references grounding careful opposition: Raleigh's nymph replies to Marlowe's shepherd stanza by stanza, Donne's Second Anniversary recasts the occasion of the First from an inert lifeless body under dissection to a soul in progress, and, of course, Milton's own Penseroso explores a soberer life unknown to cheery Allegro. An analogous pair of companion-pictures in Lycidas, linked by common subject rather than parallel patterning but working out their profound contrast just as carefully, offers a beginning focus for my concern in this essay: the role of time in the elegy's complex struggles and resolution. Look, then, on this picture:
TL;DR: In this paper, Kline's performance of Hamlet as Ciulei Hamlet was a dramatic study in repressive power, both political and familial, in a psychological and metaphysical work, and neither the derangement nor the wider disorder in the ethical and spiritual realm beyond the Danish court were in evidence.
Abstract: one has become. For Ciulei Hamlet was a dramatic study in repressive power, both political and familial. It is that, of course, but it is also-even more significantly-a psychological and metaphysical work. Neither the derangement of Hamlet's inner universethe swirl of madness which nearly engulfs him-nor the wider disorder in the ethical and spiritual realm beyond the Danish court were in evidence here. Of course these elements are expressed preeminently through the poetic resonance of the language, something the director did not, or could not, deal with. And even more to the point, neither could Kevin Kline. Although he has been training himself as a classical actor by performing Shakespeare and Shaw in New York (for a movie actor, an act of staggering artistic courage), he has skipped over crucial "preparatory" roles. Playing Richard III and Henry V, he has honed his wit and his rhetorical power (he is ready for Benedick and Mercutio whenever he chooses to try them), but not his poetic grace. He must play Romeo, and especially Richard II, and play them under the right director. And then-because he is still young enough-he may come back to Hamlet and give us the great interpretation of which he seems to be capable.
TL;DR: In a playwright's imagination, every thought and every attendant word must be expressed physically, by the reverberation of a particular set of vocal cords or, perhaps by the gesture of an arm.
Abstract: Centrally, Hamlet seeks the right relation between thought and action. Thematically, so does Hamlet. That the prince and the play share this vexed obsession accounts for critical efforts to locate the play's lineaments in some branch of philosophy. But there are more things in heaven and earth and on stage than are dreamt of in our philosophies, and questions about the intricate relationships between thought and action, inner word and outer deed, belong as much to dramaturgy as to intellectual inquiry. For a playwright to create the illusion of a character's having an inward and pre-existing consciousness, implicit thoughts for that character must be quite literally embodied. (I use thought here to signal idea, perception, motive, anxiety, desire, memory the entire province of human inwardness, including the buried vault of the unconscious.) In drama, every thought and every attendant word must be expressed physically, by the reverberation of a particular set of vocal cords or, perhaps, by the gesture of a particular arm. Drama is the fleshly
Journal Article•
01 Jan 1987
TL;DR: Hamlet is made more difficult of resolution by Hamlet's coming to grips with the change in his fortunes that so radically affect the symbolic order or economic system of his psyche as mentioned in this paper.
Abstract: This moral dilemma is made more difficult of resolution by Hamlet’s coming to grips with the change in his fortunes that so radically affect the symbolic order or ‘economic system of his psyche’. Not only is his father dead and his mother precipitately remarried so that he has, in another formulation of Lacan, ‘lost the way of his desire’ (1977, pp. 12, 14), but he has been displaced as heir-presumptive. Towards the end of the play he attempts to explain this to Horatio: Claudius, he says,
hath killed the king and whored my mother, Popped in between th’election and my hopes …
[v.ii.64–5]
The metaphor in the second line suggests musical beds in a French farce. Even at this stage in the action, Hamlet cannot separate the private from the public, experience from idea, the sexual from the political. Those internalised figures of father and mother, authority and security, have been displaced. Under his father’s reign Hamlet’s role had been to uphold the order of the kingdom — and, besides, he had latterly lived away from Elsinore: now he is not only confronting a new peace-seeking settlement but his sexual identity has been shattered. After the visitation of a Ghost ardent for revenge, Hamlet is, as a malcontent revenger, fitfully aware that he is set to disturb the whole fabric of the court at a time when he is not yet ready to know himself.
01 Dec 1987
TL;DR: The names of supporting characters in Hamlet, King Lear, and Macbeth were discussed in this paper, with a focus on the roles of the supporting characters of Hamlet and King Lear.
Abstract: (1987). Names of Supporting Characters in Hamlet, King Lear, and Macbeth. Names: Vol. 35, No. 3-4, pp. 127-138.
TL;DR: Gordon Craig as mentioned in this paper developed an obsessive identification with Hamlet, seeing himself chosen by destiny to use the power of the play to cleanse the world of evils, and used it to effect a revolution in the late Victorian theatre.
Abstract: Gordon Craig wished to effect a revolution in the late Victorian theatre. To justify that rejection of the world of his parents (Ellen Terry, Edwin Godwin) and mentor (Henry Irving), he developed an obsessive identification with Hamlet, seeing himself chosen by destiny to use the power of the play to cleanse the world of evils.
01 Jan 1987
Book•
01 Nov 1987
TL;DR: The authors provide an overview of Shakespeare's dramatic and poetic achievement with analyses, sources and influences, and a chronological survey of the great Shakespeare performances, the songs, operas, ballets and musicals inspired by his writing, and the celebrated cinematic adaptations of his plays.
Abstract: This illustrated source book provides information on Shakespeare's life and times, his complete works and the great performances, songs, operas and films they have inspired, from Verdi's "Macbeth" to Olivier's "Hamlet". The handbook aims to distinguish fact from popular legend in Shakespeare's life and to provide a portrait of the Elizabethan world into which he was born and the Elizabethan and Jacobean theatre which he was to transform. Written by a team of leading international scholars under the editorship of Levi Fox, it gives an overview of Shakespeare's dramatic and poetic achievement with analyses, sources and influences. A chronological survey of the great Shakespeare performances, the songs, operas, ballets and musicals inspired by his writing, and the celebrated cinematic adaptations of his plays reveals the extent to which Shakespeare's work continues to be a major influence today.
01 Jan 1987
TL;DR: A discussion of economic growth here, leaving out the Soviet case, would therefore be rather like a performance of Hamlet without the Prince of Denmark as discussed by the authors. But in lieu of those better qualified, I shall try to prevent such a gaping omission.
Abstract: Lenin is reported to have said in October, 1917: “Either death or we must overtake and surpass the advanced capitalist countries” It was this Bolshevik obsession with the tempo that ushered in the age of growthman-ship, and however indirectly, led to the present volume A discussion of economic growth here, leaving out the Soviet case, would therefore be rather like a performance of Hamlet without the Prince of Denmark In lieu of those better qualified, I shall try to prevent such a gaping omission
Journal Article•
TL;DR: This paper examined how Shakespeare used first, themes of earthly revenge, and second, the theme of God's vengeance that is, the Second Coming in the later redactions of his masterpiece.
Abstract: \"This is what is so very strange\", wrote a critic of Hamlet, \"that it should be difficult, or should have become difficult, to grasp the central drift of a play that has always been popular and successful\". There seems to have been an early version of Hamlet as a straight revenge play on the Senecan model (commonly referred to as the Ur-Hamlet), with \"the ghost which cried... like an oister wife, Hamlet, revenge\". However much Shakespeare revised the play, this theme remained in the public memory, and the Senecan in Hamlet was parodied by Shakespeare's contemporary Chettle in The Tragedy of Hoffman. I have suggested in another paper that the central drift of the play may indeed be revenge, but on the Christian, not the Senecan model the theme Vindicta mihi, words quoted by Kyd's Horatio in The Spanish Tragedy, but there dismissed as soon as uttered. I referred in that paper to the scenic form of the graveyard scene, which mirrors the opening of the Last Judgement plays in the mystery cycles. Here I wish to examine briefly how Shakespeare used first, themes of earthly revenge, and second, the theme of God's vengeance that is, the Second Coming in the later redactions of his masterpiece. In Shakespeare's principal known sources, the Historiae Danicae by Saxo Grammaticus and Belleforest's Histoires Tragiques, Hamlet exacts his revenge publicly, afterwards defending his action before the people of Denmark and ascending the throne. In Shakespeare's version Hamlet dies and leaves to others the defence of his actions and the government of the kingdom, the play ending in outward confusion and uncertainty. Death stops Hamlet from defending his revenge publicly; but before that, something has stopped him from exacting it privately. There may be a key to this in the shifting imagery of Shakespeare's ghost In Saxo and Belleforest Hamlet's revenge is undertaken without prompting from a ghost and it is therefore likely that Shakespeare worked originally from the Ur-Hamlet figure for his ghostly summoner to vengeance. The Ur-Hamlet is lost, but there are indications of a version earlier than Shakespeare's in Der Bestrafte Brudermord (Fratricide Punished), a German play apparently translated from an English original and taken to Germany early in the seventeenth