“A Critical History of Hamlet”. By Kayla Allen, Bryant Kauffman, and Mairead Murphy. The Open-Ended Opportunities Presented with Hamlet. Taking Shakespeare’s Hamlet and creatively reinterpreting it by: - onstage performances -paintings -poetry -film
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By Kayla Allen, Bryant Kauffman, and Mairead Murphy
- onstage performances
-The First Folio was the introduction to the play that included many important writers tributes to Shakespeare.
- His work rose above culture and historical periods and is still great even for today’s audience.
(the nature of humanity, who we are as people, and the characteristics of our personality that defines who we are.)
-Ben Johnson also criticized, saying that Shakespeare never scribbled out his work. Johnson says that crossing out shows “hard work and stylistic revision.”
-Why does Hamlet delay?
- Hamlet suffered from a deep “abnormal and morbid melancholy” that prevented him from acting. (Shakespearean Tragedy, Bradley)
-Hamlet is more repressed than Oedipus because civilization has become more repressed.
-Hamlet is not acting and taking revenge for his father’s death because he considered taking the same action against his father. Hamlet felt an unconscious sexual affection for his mother. (Freud)
-erotic treatment of the relationship between Hamlet and Gertrude.
-attribution of Hamlet’s delay to an implicit comparison between himself and Claudius.
-brought out sexual tensions between Gertrude and Hamlet. (casting gertrude to 27, and Hamlet 40)
-Oliver’s Hamlet is: romantic, sublime, intellectually brilliant, and courageous but ultimately isolated.
(Susanne L. Wolford, 193)
-focuses on Hamlet’s disgust toward women, especially as sexual beings.
-“effort to try to discover what the Elizabethan issues in the play were. (Moral, religious questions about revenge, fate, and free will.
- “treats the play not as material for interpretation but as a work of art that has its own separate, powerful, and primary existence on the stage.”
“Hamlet will continue to puzzle and possess the minds of future generations, who can make the play their own only by in turn taking critical possession of it. ‘Remember me!’ says the play, and we will not forget.
Susanne L. Wofford