Search results for "hamlet"

Viljama Šekspīra luga “Hamlets” un tās iestudējumi latviešu teātrī

2016

mērķis ir sniegt daudzpusīgu traģēdijas “Hamlets” tulkojuma analīzi, kā arī veidot radošu un objektīvu Šekspīra lugas iestudējumu analīzi latviešu teātrī, apskatot iestudējumus, kas tapuši laika posmā no 1894. līdz 2008.gadam. Aplūkotie piecpadsmit iestudējumi, kas iestudēti visos lielākajos Rīgas un reģionālajos teātros, tostarp arī Rīgas Latviešu teātrī, kurā tapusi pirmā “Hamlets” lugas interpretācija latviešu teātrī. Autore ir secinājusi, ka luga “Hamlets” tiek iestudēta kā sava laika un sabiedrības spogulis, balstoties uz teātra valodu un tehniku, kas raksturīga režisoram, kurš veido lugas interpretāciju.

Theatrical Self-Reflexivity in Gregory Doran's Hamlet (2009)

2016

Este articulo tratara sobre la meta-teatralidad en la pelicula Hamlet de Gregory Doran (2009). Esta pelicula esta basada en una produccion escenica de la Royal Shakespeare Company presentada en el Courtyard Theatre (Stratford-upon-Avon) y el Novello Theatre (Londres). Contra los permanentes prejuicios que critican la fusion entre la puesta teatral y la pequena pantalla, Doran y el equipo creativo de Illuminations Media optan por sacar partido de las naturalezas opuestas de las artes teatrales y cinematograficas. Los resultados de esta decision creativa se manifiestan en forma de representacion hibrida para television. La pelicula se ha rodado en un espacio acondicionado con el proposito de …

“Never shake thy gory locks at me” (Macbeth, III.iv.50-51): Objecting to Gestures in Macbeth

2018

International audience; Shakespeare's Macbeth displays a pattern of characters objecting to gestures, be it others' or their own. This includes Macbeth refusing to shake hands with his opponent before the battle, his words to Banquo's ghost quoted in the title above, Banquo's own puzzlement at the weird sisters' placing a finger over their lips, the doctor's suspicions at Lady Macbeth's rubbing her hands and sleepwalking, as well as Malcom's request that Macduff not pull his hat over his eyes. In many of these cases, gesture is pitted against speech, which seems to undermine the classically-derived ideal of "suit[ing] the word to the action, the action to the word" (Hamlet, 3.2.16-18). This…

Shakespeare in the Extreme: Addiction, Ghosts and (Re)Mediation in Alexander Fodor’s Hamlet

2011

This article is an analysis of Fodor's filmic version of Hamlet as simultaneously reverent and irreverent toward the canonical status of the Bard. It shows how Hamlet is being recycled by being brought into contact with contemporary citational environments, from pop music to drug culture.

Recensione di The Players’ Advice to Hamlet: the Rhetorical Acting Method from the Renaissance to the Enlightenment

2020

The Players’ Advice to Hamlet (2020), scritto da David Wiles per la Cambridge University Press (370 pp.), è un lavoro che raccoglie i dati e le riflessioni di molti anni di ricerca, e indica quali debbono essere gli strumenti di analisi e rilevazione della filologia teatrale. The Players’ Advice to Hamlet (2020) written by David Wiles and published by Cambridge University Press (370 p.) is a volume that houses resources which have been analysed during a long period of work, and underlines methods and models of the theatrical philology.

“This England”: Re-Visiting Shakespearean Landscapes and Mediascapes in John Akomfrah’s The Nine Muses (2010)

2017

The paper will offer a reading of John Akomfrah’s The Nine Muses (2010), a 90-minute experimental feature film that has been defined as “one of the most vital and original artistic responses to the subject of immigration that British cinema has ever produced” (Mitchell). It will focus on the multifarious ways in which the film makes the “canonical” literary material that it incorporates, including Shakespeare, interact with rarely seen archival material from the BBC regarding the experience of Caribbean and South Asian immigrants in 1950s and 1960s Britain. It will argue that through this interaction the familiarity of Western “canonical” literature re-presents itself as an uncanny landscap…

The Ambivalence of Revenge and of the Avenger's Role in HAMLET: The Function of Letters and Emblematic Allusions

2011

Klasikas iestudējumi Oļģerta Krodera režijā: teksts un tā interpretācija

2017

Promocijas darbā pētīta teksta nozīme iestudējuma koncepcijas īstenošanā, balstoties uz režisora Oļģerta Krodera iestudētajiem literatūras klasikas darbiem. O. Krodera radošā darbība analizēta hronoloģiski secīgos četros periodos, kurus lielā mērānosaka katrā periodā iestudētā V. Šekspīra traģēdija „Hamlets”. Kopumā analizēti 12 iestudējumi, fiksējot laikmeta refleksijas katra iestudējuma vēstījumā un pieņemot „Hamletu” kā atskaites punktu. Teksts pētījumā analizēts no hermeneitikas pozīcijām kā lingvistiski izteikts vēstī jums. Vienlaikus ņemts vērā jēdziena „teksts” kulturoloģiskais aspekts, kas iestudējuma vēstījuma atklāsmē par vienlīdz svarīgiem atzīst visus estētikas objektus. Pētījum…

There's A Ghost In Every Mirror: The Identity of the Ghost In Hamlet

2009

 Tutkielmassani käsittelen William Shakespearean näytelmän Hamlet keskeisen hahmon, Haamun, identiteettiä katolisessa ja protestanttisessa teologiassa eriävän kiirastuliopin kautta avautuvana ristiriitana. Tulkitsen Haamun hahmoa perinteistä skeptisemmästä näkökulmasta, jonka pohjalta pyrin löytämään tekstistä viitteitä siihen, että Haamun identiteetti ei missään vaiheessa ole suoraan johdettavissa siihen perinteiseen tulkintaan, jonka mukaan se olisi Hamletin isä. Pyrin valottamaan jo 1500-luvun lopulla Englannissa vaikuttaneen protestanttisen maailmankuvan valossa teoksen kuvauksia Haamun alkuperästä sekä analysoimaan, millä tavalla sen kanssa tekemisissä olevat henkilöhahmot siihen reago…

“The drops which fell from Shakespear’s Pen”: Hamlet in Contemporary Fiction

2012

Questions of gender, ethnicity and sexuality have all been raised by novelists intent on rewriting Shakespeare from the position of what have been seen as cultural margins. While discussions of such rewritings are ongoing, few concerted efforts have been made to trace a pattern in the treatment of Shakespearean allusion and adaptation at the hands of British and American writers of the literary mainstream. The present essay sets out to investigate the way in which three such writers —Ian McEwan, Graham Swift, and John Updike— employ allusion to/adaptations of Hamlet in their novels and what their respective stances reveal about their understanding of their role as canonical writers.