You can also find the presentation here: http://prezi.com/uz1aybh63fat/reviewing-shakespeare-the-performances/
Thanks for watching and enjoy the blog!
Saturday, January 14, 2012
Monday, January 9, 2012
Modern Interpretations
Each interpretation of Hamlet strives to keep in line with the original play while also keeping an appeal to a modern audience. While there are many different productions of Hamlet each has its own unique alterations that allow varied experiences in watching. In each modification of the four different productions there is a noticeable diversity in the deliverance of the lines, setting, and emotion.
Two of these interpretations were created in 1990, beginning with the performance of Kevin Kline as Hamlet, also directed by Kline. Kline delivers Hamlet’s famous soliloquy with not a word out of place, staying true to Shakespeare’s original play perfectly. Kline’s setting is one of stark modern coldness, with little use of scenery or props. Viewers feel the torment afflicting Hamlet as he stands alone reasoning out the options he can act out in this vacant surrounding.
Also filmed in 1990 is Mel Gibson’s Hamlet directed by Franco Zeffirelli. Closely adapted from the original play, this version uses ornate props, costume, and setting to show the richness of the royal family. While this version does not keep every line in it, there is little discrepancy to be found in its approach. Brilliantly executed emotion pours from the screen as Hamlet confronts his mother in her elaborate chamber while Polonius listens in hiding. Tension of the dire situation is evident as Gibson parades around the room cursing his mother and her actions.
Filmed in 1996 and directed and starring Kenneth Branagh as Hamlet audiences get a true delight. Each line of the original play is used in this adaptation and allows the audience the full play in movie form. Beautiful setting is used in this version similar to the manner in Gibson’s. Differing from Gibson’s, this version uses light in scenery and props as Ophelia goes mad, lifting a little of the heavy pressure that the plot places on its watchers.
Finally, filmed in 2009 and directed by Gregory Doran, David Tennant plays the troubled Hamlet. Like its predecessors, this version stays very true to the original text of the play, including many, but not all lines. Not much in the way of props is used in the scene upon the ramparts as Hamlet awaits the arrival of the ghost. Given a modern flair is the manner of costume used in this version. All characters wear clothing that would be readily available to the time it was filmed. Also, part of the scene appears to be witnessed through a surveillance camera, suggesting it was being watched in a control room part of the time.
Two of these interpretations were created in 1990, beginning with the performance of Kevin Kline as Hamlet, also directed by Kline. Kline delivers Hamlet’s famous soliloquy with not a word out of place, staying true to Shakespeare’s original play perfectly. Kline’s setting is one of stark modern coldness, with little use of scenery or props. Viewers feel the torment afflicting Hamlet as he stands alone reasoning out the options he can act out in this vacant surrounding.
Also filmed in 1990 is Mel Gibson’s Hamlet directed by Franco Zeffirelli. Closely adapted from the original play, this version uses ornate props, costume, and setting to show the richness of the royal family. While this version does not keep every line in it, there is little discrepancy to be found in its approach. Brilliantly executed emotion pours from the screen as Hamlet confronts his mother in her elaborate chamber while Polonius listens in hiding. Tension of the dire situation is evident as Gibson parades around the room cursing his mother and her actions.
Filmed in 1996 and directed and starring Kenneth Branagh as Hamlet audiences get a true delight. Each line of the original play is used in this adaptation and allows the audience the full play in movie form. Beautiful setting is used in this version similar to the manner in Gibson’s. Differing from Gibson’s, this version uses light in scenery and props as Ophelia goes mad, lifting a little of the heavy pressure that the plot places on its watchers.
Finally, filmed in 2009 and directed by Gregory Doran, David Tennant plays the troubled Hamlet. Like its predecessors, this version stays very true to the original text of the play, including many, but not all lines. Not much in the way of props is used in the scene upon the ramparts as Hamlet awaits the arrival of the ghost. Given a modern flair is the manner of costume used in this version. All characters wear clothing that would be readily available to the time it was filmed. Also, part of the scene appears to be witnessed through a surveillance camera, suggesting it was being watched in a control room part of the time.
Changes in Language
Though Shakespeare used powerful statements in all of his plays, they do not really come to life until you see an actual performance.
There are many memorable speeches where the characters of the play contemplate the fate of their decisions. Many mistakes are made which create the inevitable domino effect. Although the play in itself is very moving, it is the performance that brings the words to life.
With language the speech is given its' full meaning. WWith powerful pauses, and higher and lower tones you can really feel how each character is trying to debate with each other which choice they should make. The language that is used throughout the play is consistent and leaves a lot to the reader’s imagination. Whenever a performance is watched the reader has the ability to really feel what Shakespeare had originally intended.
The play could be considered merely words on a paper, but it is the language of the performance that brings Shakespeare’s words to life. In both the play and the performance, it is Shakespeare who has the ability to move a viewer or reader by the use of his language.
It is his words that create a moving story of consistent tragedy and treachery. In the end the use of tones and certain words within the language that makes the play so moving. The memorable lines are felt in both the play and performance through the moving words and Shakespeare’s way to make the reader or viewer feel each characters contrasting situations.
There are many memorable speeches where the characters of the play contemplate the fate of their decisions. Many mistakes are made which create the inevitable domino effect. Although the play in itself is very moving, it is the performance that brings the words to life.
With language the speech is given its' full meaning. WWith powerful pauses, and higher and lower tones you can really feel how each character is trying to debate with each other which choice they should make. The language that is used throughout the play is consistent and leaves a lot to the reader’s imagination. Whenever a performance is watched the reader has the ability to really feel what Shakespeare had originally intended.
The play could be considered merely words on a paper, but it is the language of the performance that brings Shakespeare’s words to life. In both the play and the performance, it is Shakespeare who has the ability to move a viewer or reader by the use of his language.
It is his words that create a moving story of consistent tragedy and treachery. In the end the use of tones and certain words within the language that makes the play so moving. The memorable lines are felt in both the play and performance through the moving words and Shakespeare’s way to make the reader or viewer feel each characters contrasting situations.
Tragic Liteary Themes: Direct Comparison
Ophelia’s use of handing out flowers is symbolic of her deep grief and sorrow of her father’s passing. This is an indirect way to express her feelings, which is safer than stating her opinions to the Court. Ophelia pleads for her brother to remember and accuses the King and Queen of adultery and faithlessness by the flowers she chooses to talk about. The major theme for this clip is the descent into madness that Ophelia is expressing, but it is also that last hurrah that she manages to get. She has one last bit of courage to tell the King and Queen she knows exactly what is going on and in her own way she pleads with her brother to also find the truth. The production makes good use of light and dark, as if Ophelia can speak what’s in her heart in the light, but once the dark appears she closes her heart to everyone.
Theme 2: David Tennant and Forewarning
One of the major themes of this clip is forewarning. The Ghost of King Hamlet appears amidst darkness. This allows the audience to feel that something ominous is about to happen. In this clip, Marcellus utters, “Something is rotten in the state of Denmark.” It is hear that the audience understands that the characters know something is wrong in their country. It is as if they feel it in their bones; a chill that does not go away. The general tone of conversation in the clip is urgent, but between Hamlet and his dead Father the tone is morose and leads Hamlet on his path to revenge. The production makes good use of darkness and smoke to make the scenes appear almost otherworldly.
This is the famous “To be or Not to be,” scene that concludes with Hamlet’s mistreatment of Ophelia. The major theme for this clip is indecision. Hamlet’s speech is about whether or not he should commit suicide. Hamlet feels betrayed and lost and wonders whether killing himself is the best way out, for it seems he cannot deal with what life is throwing his way. One of the other themes is betrayal. Ophelia, who claims to love Hamlet, is actually betraying his trust by teaming up with Claudius and Polonius. She may not know it, but later in the play, we see that Ophelia did have misgivings about Claudius and should have known better. This production, which has Kevin Kline as Hamlet, does well in this scene. Kline plays Hamlet in this scene as slightly lost and regretful, showing a humble side to Hamlet.
Theme 4: Mel Gibson and Incest
There could be quite a number of themes intertwining throughout this scene, but the one that speaks the loudest is incest. This movie version of the play goes quite a bit further than most productions, with Gertrude actually kissing her son and Hamlet bucking against his mother while they practically scream in each other’s face. The scene is reminiscent of the story of Oedipus in that it brings together a tale of murder, revenge, incest, and betrayal all in one scene! Mel Gibson, as Hamlet, plays the beginning of this scene (quite perfectly) as a maniacal farce. Contrasted against Glenn Close’s very dramatic but naïve Gertrude, it works well for the upcoming bed scene as Hamlet loses control and Gertrude breaks down all her defenses.
Reference
Bevington, D. (Ed.). (2009). The Necessary Shakespeare (3rd ed.). New York: Pearson/Longman.
Eriksson, K. (n.d.). Ophelia's flowers and their symbolic meaning. Retrieved from http://www.huntingtonbotanical.org/Shakespeare/ophelia.htm
Saturday, January 7, 2012
Performances vs. The Play: Direct Comparison
Spoken in very close adaptations to the original language, all of these performance (Kenneth Branagh, David Tennant, Kevin Kline, Mel Gibson) truly brings Shakespeare’s words to life, enacting them in a way that makes the sometimes confusing reading very attainable to a wide audience. Delivered with fervency, paranoia, and sometimes whimsy (especially on the part of David Tennant), all four performances are able to blend a dated language with period-appropriate delivery and modernistic emotional connections. In a way that some scenes in the reading require further explanation or a handy dictionary – the on screen performance is clear and endearing without seeming confusing or half-hearted.
All of the movies are able to encapture one specific scene -- an illuminating scene between Hamlet and Ophelia that comes across almost better on stage than it does in reading. With a watchful Claudius ever-present on stage, we’re able to take away from the harshness of Hamlet’s words to Ophelia, which raises the emotional ties to the scene. Where readers are distracted by the harshness of his words, the performance allows for a stronger heartbroken moment as we’re able to ignore his wit and purpose, and instead focus on her reactions and words, her subtle wordplay in writing turns to shattered sadness on stage. The dynamic of the piece completely changed for me as a viewer.
The play within a play, as well, is given added dynamic. Taking Hamlet’s monologue out of the scene and allowing for the visual interpretations from Claudius and Gertrude help push through the understanding and adaptation of the play.
In some other places, such as Hamlet’s famous to be or not to be speech, the visual intent came across more melodramatic then in reading, as his words were forced to a heightened degree, and the interpretation of the words were taken to an extreme for visual and emotional interest.
However, overall, the performances are a very strong dynamic of the reading, allowing for added interpretations, clarity, and general enjoyment.
All of the movies are able to encapture one specific scene -- an illuminating scene between Hamlet and Ophelia that comes across almost better on stage than it does in reading. With a watchful Claudius ever-present on stage, we’re able to take away from the harshness of Hamlet’s words to Ophelia, which raises the emotional ties to the scene. Where readers are distracted by the harshness of his words, the performance allows for a stronger heartbroken moment as we’re able to ignore his wit and purpose, and instead focus on her reactions and words, her subtle wordplay in writing turns to shattered sadness on stage. The dynamic of the piece completely changed for me as a viewer.
The play within a play, as well, is given added dynamic. Taking Hamlet’s monologue out of the scene and allowing for the visual interpretations from Claudius and Gertrude help push through the understanding and adaptation of the play.
In some other places, such as Hamlet’s famous to be or not to be speech, the visual intent came across more melodramatic then in reading, as his words were forced to a heightened degree, and the interpretation of the words were taken to an extreme for visual and emotional interest.
However, overall, the performances are a very strong dynamic of the reading, allowing for added interpretations, clarity, and general enjoyment.
Sunday, January 1, 2012
Act III Scene iv: According to Bethany Goodman
Part Beings at 12:45
Director Franco Zeffirelli’s 1990 adaptation of Shakespeare’s Hamlet stars Mel Gibson as Hamlet and the infallible Glenn Close as Queen Gertrude. Mel Gibson and Glenn Close deliver an extremely poignant and also risqué interpretation of the scene in which Polonius is murdered. Involving shouting, crying, and even an Oedipus-reminiscent bed scene with closely and almost intimately delivered lines, this scene is a stand out in the production.
Hamlet enters the room, obviously to continue his ploy for madness, furthering his work through the rest of the work to procure his place as a troubled madman throughout the play. Gertrude, who has grown tired of feeling guilty and bullied by Hamlet, seems to decide to make a stand in the early parts of this scene. Glenn Close is triumphant and proud, back straight and stern faced upon his entrance. The tides quickly turn with Polonius’ murder, as he ironically seems his madness not only in show but also in truth.
The setting of this entire performance makes this scene even more prosperous. The dungeon type atmosphere really plays to the sterility and dankness of the play. Where other directions chose bright lighting and lush colors for the royal family, the use of stone, and stark tapestries, really play to their benefit in this performance. The dreary feel with the coldness of the atmosphere, change the dynamic of the personalities. It adds to his sense of madness, much as one would expect a man alone in frozen tundra to talk to himself, we expect for the characters to be standoffish and slightly mad.
Overall, this scene is perfectly scripted, casted, and propped for maximum effect. Where readers are aghast, watchers are left stunned, troubled, and even uncomfortable.
Act IV Scene iv: According to BeeBee Davis
I chose Kenneth Branagh’s 1996 movie version of Hamlet because Branagh included every word from the play into the movie. I chose Ophelia’s descent into madness because of the symbolism of the flowers that Ophelia talks about.
In this scene, Ophelia enters just as the King is calming down Laertes. Ophelia is deranged and begins singing and passing out flowers. Laertes is stunned by her madness and does not want to see her, wishing that her tears could turn him blind. Ophelia sings a sad song of a funeral, says goodbye and leaves. This drives Laertes to want revenge, which drives Claudius to egg him on.
With her Father murdered and being quite sensitive, it is no wonder that Ophelia descended into madness. Her use of handing out flowers is symbolic of her deep grief and sorrow of his passing. This is an indirect way to express her feelings, which is safer than stating her opinions to the Court. One must remember that in this time and place, the fear of insulting someone like a King or Queen could lead to death
The Rosemary and Pansies is for Laertes, for they stand for remembrance (thoughts). Ophelia pleads for her brother to figure out the killer as she tells him to think back over what has been happening. The Fennel and Columbines are for the King, for Fennel stands for flattery and Columbines are symbolic of male adultery and faithlessness. Ophelia flatters the king first and then accuses him of adultery, which is brave of her. The Rue is for the Queen and Ophelia and it stands for adultery and repentance of transgressions for women and suffering. At Shakespeare’s time, Rue was used for abortions (hence why it was tied to adultery). Ophelia then pretends to pick up a daisy, which stands for innocence, but she puts it back, as if to say there is no innocence left in this place. Lastly, Ophelia states, “I would give you some violets, but they withered all when my father died” (4.5. 184-186). Violets stand for faithfulness or fidelity. This statement is directed at the King and Queen, and is akin to a slap in the face.
The one thing I did not like about this scene was that Ophelia, when talking about the Rue, looks at her brother instead of the Queen. I felt that that was a grave oversight, as this flower is clearly meant for the Queen. The one thing I loved about this scene was that at the beginning, Ophelia is in darkness as she runs, but once she opens the door to the room, she is bathed in light. It made me think she was finally free to say what she wanted to say. When she leaves the room, she is once again in the dark.
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