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Hamlet (place)

About: Hamlet (place) is a research topic. Over the lifetime, 2771 publications have been published within this topic receiving 16301 citations.


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Book
01 Jan 1985
TL;DR: Mills as mentioned in this paper highlights the various ways in which the role of Hamlet has been performed over almost four centuries, focusing on acting style, text interpretation, theatrical and critical influences, popular and critical responses, and more.
Abstract: John Mills spotlights the various ways in which the role of Hamlet has been performed over almost four centuries. He launches this work with the first Hamlet portrayal, that of Richard Burbage, and then, in chronological order, describes and analyzes the Hamlets of the other actors who make up the great tradition of English-language Shakespeare acting. Mills devotes an entire chapter to each actor, focusing on acting style, text interpretation, theatrical and critical influences, popular and critical responses, and more. He offers a scene-by-scene account of the central figure's performance, with special emphasis on business and line-readings.

10 citations

Book
01 Jan 2002
TL;DR: In this article, the authors draw on the vast literature that plays little part in formal Shakespeare criticism and scholarship, but that shows with immediacy and passion the enormous impact Shakespeare has had on our cultural life.
Abstract: No writer has served as such a powerful source of inspiration for other writers as Shakespeare. No writer has attracted such widespread and varied comment. This unique anthology draws on the vast literature that plays little part in formal Shakespeare criticism and scholarship, but that shows with immediacy and passion the enormous impact Shakespeare has had on our cultural life. Novelists, poets, and playwrights are all represented. So are philosophers, historians, composers, film-makers, politicians. Shakespearean characters and motifs are shown fuelling the genius of Goethe and Dostoevsky, Aldous Huxley and Emily Dickinson, John Updike and Duke Ellington, Nabokov and Proust. Shakespeare the man fires the imagination of Kipling and Joyce, Borges and Anthony Burgess. Herman Melville writes a poem about Falstaff. D. H. Lawrence anatomizes Hamlet. R. K. Narayan describes a Shakespeare lesson in an Indian classroom. John Osborne adapts Coriolanus. Ionescu reworks Macbeth. The choice of critical responses is equally wide-ranging. Jean-Paul Sartre proves an unexpectedly expert commentator on King Lear. Alfred Dreyfus and Nelson Mandela console themselves with Shakespeare during their imprisonment. And curiosities abound - parodies, burlesques, strange echoes and eccentricities. Throughout the book we can see Shakespeare changing lives, opening up fresh horizons and reaching out to 'the great globe itself'.

10 citations

Book ChapterDOI
01 Jan 1983
TL;DR: Hamlet, Macbeth, and The Tempest as discussed by the authors are all versions of the same kind of tragedy, but they are not classified into a specific genre of tragedy: the genre is really only a modern abstraction from a recurrent set of conventions, all of which make their individual appearance in plays we should not normally think of labelling ‘revenge tragedies’ at all.
Abstract: In this paper I shall be looking at three plays — Hamlet, Macbeth and The Tempest — as versions of revenge tragedy, I am not proposing any contentious reclassification. Shakespeare’s contemporaries did not envisage a distinct species of drama called ‘revenge tragedy’: and the ‘genre’ is really only a modern abstraction from a recurrent set of conventions, all of which make their individual appearance in plays we should not normally think of labelling ‘revenge tragedies’ at all. In choosing to emphasise those aspects of my three plays which link them to a ‘revenge tradition’, I want only to place them in a fresh perspective:[1] in so doing I hope also to suggest some new ways of thinking about this tradition — about the importance it had for Renaissance Englishmen and for Shakespeare in particular. Prospero’s renunciation of ‘vengeance’ in the name of ‘virtue’ marks the conclusion not just of his own moral pilgrimage, but of his creator’s long meditation on man’s relation with his past, on the significance of remembrance and revenge.

9 citations


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Performance
Metrics
No. of papers in the topic in previous years
YearPapers
202137
202060
201986
201894
2017100
2016117