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Wyszukujesz frazę "Hamlet" wg kryterium: Wszystkie pola

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    Wyświetlanie 1-3 z 3
    Tytuł:
    “Listen to many, speak to a few”: Eduard Vojan’s Hamlet on the First Czech Stage
    Autorzy:
    Mišterová, Ivona
    Powiązania:
    https://bibliotekanauki.pl/articles/889076.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    Jaroslav Kvapil
    Eduard Vojan
    the National Theatre in Prague
    Opis:
    Hamlet has been frequently performed on the Czech stage, not only during the nineteenth century but also throughout the twentieth and twenty-first centuries. From 1905 until the end of his career at the National Theatre in Prague, Hamlet was also the mainstay of Jaroslav Kvapil’s repertoire. The aim of this paper is to concentrate on four productions of Hamlet at the National theatre in Prague in 1905, 1915, 1916, and 1920. In order to illustrate the critical reception of these four productions, the paper draws upon a range of period theatre reviews and critical commentaries. It attempts to show how directorial and acting choices have shaped the play in performance, by focusing in particular on Eduard Vojan’s renditions of Hamlet, set in different national contexts. Vojan (1853–1920) was one of the greatest Czech actors and performers of Shakespearean protagonists, famous for his deep, almost Protean insight into his characters. His portrayal of Hamlet (1905) still represents one of the best Shakespearean renditions on the Czech stage. Vojan discovered and skilfully interpreted Hamlet’s complicated character. His Danish prince was a lonely, sarcastic, and nonconforming individual opposing the world’s pettiness.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 107-117
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bezdomni zmarli: rzecz o Szekspirowskich widmach
    The homeless dead: the case of Shakespeare’s spectres
    Autorzy:
    Grzegorzewska, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/2012206.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    cmentarz
    Szekspir
    Hamlet
    Makbet
    widma
    obrzęd
    Dziady
    graveyard
    Shakespeare
    Macbeth
    spectres
    the custom of dziady
    Opis:
    The paper begins with an anecdote concerning one of most intriguing works of Frédéric Chopin, Nocturne in G-minor, Op. 15, nr 3. A story goes that Chopin composed this nocturn inspired by a performance of Hamlet and intended to name it: In the Graveyard. Regardless of whether this story is true or false, the implied plot-line of Chopin’s nocturn, developing from a wistful and then dramatic opening passage to the harmonious, hymn-like second part well fi ts the atmosphere of Shakespeare’s drama which does not preclude the possibility of consolation and the faith in transcendence, despite its prevalent preoccupation with ubiquitous iniquity, death and decay. In contrast with the rest of the play, however, act 1 scene 5, set in the graveyard, is marked by an entirely materialistic tendency, in the vein of the late medieval dance macabre. Still more unsettling is the vision of tenantless graves and the dead returning from the liminal space of the cemetery to the polis reserved for the living. The ghosts of the people who have died violent death are not harmless apparitions, fi gments of imagination, but as Quentin Meillassoux argues, they destroy the very boundary between life and death which safeguards our existence. The ghost of Banquo in Macbeth is a “living” example of such a radical subversion of the established dichotomies, which Shakespeare examines most carefully in his great tragedies. In the theatre of the 20th century, Shakespeare’s refl ection on the elusive boundary between the world of the living and the uncanny realm of the dead gained a great momentus in the perplexing stage production of Macbeth directed by a Lithuanian, Eimuntas Necrošius. The power of his vision stems from the connection of Shakespearean tragedy with the folk tradition of “Dziady”, an ancient Balto-Slavic custom commemorating the dead.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2012, 2(5); 257-270
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Andrzej Wajda’s Two Hamlets and One Macbeth: The Director’s Struggle with Shakespearean Tragedy in the Changing Contexts of Polish History
    Autorzy:
    Fabiszak, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/888889.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    Hamlet
    Macbeth
    Andrzej Wajda
    Polish theatre productions
    Opis:
    Andrzej Wajda is a renown Polish theatre and film director, whose achievements have been recognised by theatre and film artists and critics all over the world (he has been awarded an Oscar). He has directed four versions of Hamlet and two versions of Macbeth (one for Polish television in 1969, the other for the Stary Theatre in Kraków in 2004). I propose to look at three productions to trace Wajda’s evolution in his approach to Shakespearean tragedy: Hamlet III, scenes of which were first staged in the Royal Castle of Wawel in Cracow, and then at the Stary Theatre in 1981. It was a Hamlet which addressed significant Polish problems (Wawel being a symbol of Poland, its historical power, the seat of the powerful Jagiellonian dynasty).1 The context of the production is also very significant: the time of the Solidarity festival, as it is now called in Poland (on 13 December 1981 martial law was introduced in Poland), so the performance could not help avoiding political issues. The director’s next take at Hamlet (his fourth attempt) occurred in 1989, another critical year in the Polish post-war history; surprisingly enough, the production was not so much Poland-oriented or politically involved as the previous version; instead Wajda poses questions about the condition of theatre in Poland and anticipates a less pressing need for politicising theatrical performances in the years to come. His Macbeth in turn was produced at the time of Poland’s engagement in the war on terrorism in Iraq; modern war of the ‘civilised world’ becomes a most significant frame for the production, but not the only one. The performance, showing the Macbeths as an elderly couple who are confronted with possibly the last chance to make a difference in their life, touches upon both getting old and a long-term marriage.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 97-106
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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