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"Rosencrantz and Guildenstern Are Dead" premiered at the Edinburgh Festival Fringe in 1966. The play belongs to the post Osborne and Beckett theatrical generation in which authors could no longer be pigeonholed neither from the political nor from the stylistic point of view. Stoppard later transformed the play into a film script which won the Golden Lion at the XLVIII Venice International Film Festival in 1990. The reason behind the success of this tragedy is the popularity of "Hamlet". Written during the last years of the Elizabethan era, it shows the gradual dissolving of its core values: the fact that nothing seems to have sense any more is deeply rooted into the Shakespearean tragic hero, and his dilemma mirrors the fear of the modern man of losing his own role and, with it, his own identity. Stoppard re-writes the Shakespearian drama not by altering the plot, but by presenting it through the eyes of two minor characters, thus by performing a 'poetical misunderstanding' of Hamlet – a device that, with its discussion, parody, ridicule, and, sometimes, celebration of the typical values of traditional culture, belongs to the common practices of postmodern authors in their depiction of reality.

Diese Dissertation liefert einen kulturhistorischen Überblick über die Darstellung der Frauenfiguren Gertrude und Ophelia in Hamlet-Verfilmungen des 20. Jahrhunderts. Die beiden weiblichen Gestalten werden dabei im Hinblick auf ihr äußeres Erscheinungsbild wie auch ihre Charakterzeichnung vor dem historischen, kulturellen, politischen und gesellschaftlichen Entstehungshintergrund der Filme beleuchtet. Die Analysen konzentrieren sich ausschließlich auf Kinofilme, da diese ein wesentlich breiteres Publikum erreichen als etwa die diversen Bühnen- oder Textfassungen des Stücks. Die erste der insgesamt zwanzig untersuchten Leinwandfassungen entstand im Jahre 1900, die letzte kam 2000 in die Kinos – die vorliegende Arbeit behandelt also eine genau 100-jährige Tradition der Hamlet-Verfilmungen. ; This doctoral thesis provides a comprehensive historico-cultural analysis of the figures of Gertrude and Ophelia as portrayed in Hamlet film adaptations of the 20th century. The two female figures are examined with a special emphasis on their outward appearance and character disposition, which are set against the historical, cultural, political and social background of when the films were produced. These analyses focus exclusively on film adaptations made for cinematic release, which have a larger audience than the various book versions and TV and stage productions of the play. The first of the overall twenty Hamlet films discussed here was made in 1900, the last one in 2000 – the work at hand comprises therefore a one-hundred-year-old tradition of Hamlet film adaptations.

This article discusses a 2018 theatrical production of Hamlet with Romanian teenage arts students, directed by one of the article's authors, actress and academic Dana Trifan Enache. As an artist, she believes that the art of theatre spectacle depends pre-eminently on the actors' enactment, and hones her students' acting skills and technique accordingly. The other voice in the article comes from an academic in a cognate discipline within the broad field of arts and humanities. As a feminist and medievalist, the latter has investigated the political underside of representations of the body in religious drama, amongst others. The analytic duo reflects as much the authors' different professional formation and academic interests as their asymmetrical positioning vis-à-vis the show as respectively the play's director and one of its spectators. Their shared occupational investment, teaching to form and hone highly specialized professional skills, and shared object of professional interest (broadly conceived), text interpretation, account nevertheless for the possibility of fruitful interdisciplinary reflection on the 2018 Hamlet. This in-depth analysis of the circumstances of the performance and technical solutions it sought challenges stereotyped dismissals of a students' Hamlet as superannuated, flimsy or gratuitously provocative. Furthermore, a gender-aware examination of the adaptation's original handling of characters and scenes indicates unexpected cross-cultural and diachronic commonalities between the dramatic world of the 2018 Romanian production of Hamlet and socio-cultural developments emergent in pre-Shakespearean England.

This article discusses a 2018 theatrical production of Hamlet with Romanian teenage arts students, directed by one of the article's authors, actress and academic Dana Trifan Enache. As an artist, she believes that the art of theatre spectacle depends pre-eminently on the actors' enactment, and hones her students' acting skills and technique accordingly. The other voice in the article comes from an academic in a cognate discipline within the broad field of arts and humanities. As a feminist and medievalist, the latter has investigated the political underside of representations of the body in religious drama, amongst others. The analytic duo reflects as much the authors' different professional formation and academic interests as their asymmetrical positioning vis-à-vis the show as respectively the play's director and one of its spectators. Their shared occupational investment, teaching to form and hone highly specialized professional skills, and shared object of professional interest (broadly conceived), text interpretation, account nevertheless for the possibility of fruitful interdisciplinary reflection on the 2018 Hamlet. This in-depth analysis of the circumstances of the performance and technical solutions it sought challenges stereotyped dismissals of a students' Hamlet as superannuated, flimsy or gratuitously provocative. Furthermore, a gender-aware examination of the adaptation's original handling of characters and scenes indicates unexpected cross-cultural and diachronic commonalities between the dramatic world of the 2018 Romanian production of Hamlet and socio-cultural developments emergent in pre-Shakespearean England.

Abstract:. The plot of the play begins with the exposition: the introduction of the characters, the political situation, and the death of the late king hamlet. In complication the major characters had conflicts with others and reached the climax when hamlet and Laertes played in the fencing match proposed by the king. Here, Finally Gertrude, the king, Laertes, and Hamlet died. The falling action come when the young Fortinbras came with his army and the ambassadors to tell the death of Hamlet's friends, Rosencrantz and Guildenstren in England. In the resolution, Horatio, Hamlet's best friend, told the truth about the tragedy and the election of young Fortinbras as the king of Denmark. Hamlet and Claudius were major ond round character and the rest were minor and flat characters. The setting of the play was in the castle of Elsinore, Denmark and its surroundings, for example, the guard platform, the queen's closet, and in the churchyard. The events also took place in the room of Polonius' house. They took place in winter night and daytime. Keyword; play, tragedy, plot, Character, and setting

uma das caracteristicas mais marcantes da nossa época é o processo de automatização dos indivíduos.

It has come to our attention that Hamlet, in his meanderings along the road to revenge, shows a remarkable ineptitude in those matters of military and political strategy which would have been central to the concretion of his objectives in the play. Nevertheless, it is evident that a military-skilled prince would have been entirely unsuited to Shakespeare's presumable intentions for the play: the character of the Dane is much richer dramatically precisely because he cannot, he will not, and he does not know how. Whether because he thinks too much, or because he thinks too well; perhaps, simply, because he thinks too much out of turn, Hamlet manages to distance himself from whom would otherwise have been a mere instrument of revenge. In this work, we shall attempt to view the tactics employed by the Prince through the eyes of the founding father of modern strategy theory, General Sun Tzu. While it is obvious that Shakespeare himself could not have possibly known the actual Art of War by the Chinese general -introduced to Western culture by Joseph Amiot only in 1782-, this treatise is simply, and genially, an exploration into the philosophical intricacies of the nature of man in competition: which was certainly not foreign to the remarkable military minds of the West. ; Facultad de Humanidades y Ciencias de la Educación

Heald reviews 'Black Hamlet' by Wulf Sachs.