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Tytuł:
„Chociaż to wariacja, nie jest jednakże bez metody”. Motyw udawanego szaleństwa w Hamlecie Williama Shakespeare’a i Henryku IV Luigiego Pirandella
“Though This Be Madness, Yet There Is Method In't”. The motif of feigned madness in William Shakespeare's Hamlet and Luigi Pirandello’s Henry IV
Autorzy:
Koman, Aleksandra
Powiązania:
https://bibliotekanauki.pl/articles/1828443.pdf
Data publikacji:
2020-11-26
Wydawca:
Uniwersytet Bielsko-Bialski
Tematy:
Hamlet
Henryk IV
szaleństwo
symulacja
maska
intelekt
teatralność
życie jako teatr
świadomość
prawda
Henry IV
madness
simulation
mask
intellect
theatricality
life as theatre
consciousness
truth
Opis:
Feigned madness is a motif that – with varying frequency – returns in literary texts. It is usually a carrier of important metaphors, such as: search for truth, escape from reality or conscious rejection of routine. Moreover, it seems to have an exceptional interpretative potential in dramas as it also symbolises a performative treatment of existence and an awareness of fiction which directs the poetics of the drama towards the meta-theatre. The author of this article considers these issues in relation to the titular characters of two dramatic masterpieces of world literature: Hamlet by William Shakespeare and Henry IV by Luigi Pirandello. Both characters, for various reasons, decide to hide their true psychological condition under the image of a madman, which, interestingly, confirms their sophistication and intellect. Putting on the mask of a madman guarantees the privilege of unpunished violation of conventions and established orders, hated by individuals such as Hamlet or Henry IV. This rebellion and emancipation lead to the final defeat of these characters, who, however, dominate over the others, since, unlike other actors who dispassionately play roles that have been imposed on them, they choose their roles, and – most importantly – they are aware that they are playing.
Źródło:
Świat i Słowo; 2020, 35, 2; 195-212
1731-3317
Pojawia się w:
Świat i Słowo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“This England”: Re-Visiting Shakespearean Landscapes and Mediascapes in John Akomfrah’s The Nine Muses (2010)
Autorzy:
Calbi, Maurizio
Powiązania:
https://bibliotekanauki.pl/articles/647934.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
John Akomfrah
Migration
Archive
Media Interference
Rhizomatic Shakespeare
Postcolonial Shakespeare
Home and Hospitality
Englishness
Richard II
Hamlet
Opis:
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 landscape haunted by other stories, as a language that is already in itself the “language of the other” (Derrida). In particular, it will claim that Shakespearean fragments are often used in an idiosyncratic way, and they repeatedly resonate with some of the most fundamental ethical and political issues of the film, such as the question of England as “home” and migration. The paper will also argue that the decontextualization and recontextualization of these fragments makes them re-emerge as part of an interrogation of the mediality of the medium, an interrogation that also offers insights into the circulation of Shakespeare in the contemporary mediascape.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 59-75
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“This is one Lucianus, nephew to the king!:” Political Dynamics of Four Hungarian Translations of "Hamlet"
Autorzy:
Almási, Zsolt
Powiązania:
https://bibliotekanauki.pl/articles/39778112.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
translation
Hamlet
Shakespeare
politics
Hungary
Ferenc Kazinczy
János Arany
István Eörsi
Ádám Nádasdy
Opis:
In this paper I endeavour to retell a partial history of the Hungarian translation of Hamlet’s commentary: “This is one Lucianus, nephew to the King!” (3:2:239) on the “Murder of Gonzago,” aiming to elucidate the intricate interplay between translation, cultural discourse, and socio-political dynamics. Hamlet’s commentary, seemingly straightforward yet laden with complexity, poses implications capable of reshaping the trajectory and purpose of his theatrical experiment, crafted to probe and establish Claudius’ guilt. The partial history of translations encompasses the epochs of Ferenc Kazinczy (18th century) and János Arany (19th century) up to the modern renderings of István Eörsi and Ádám Nádasdy (20th-21st centuries). Within this framework, I claim that exploring these translations of Hamlet’s commentary offers a gauge of Hamlet’s position in Hungarian cultural discourse. The evolving connotations of words, reflective of linguistic shifts, imbue layered meanings not only onto the statement itself but also onto the theatrical experiment it encapsulates. This exploration of translation, interpretation, and linguistic evolution sheds light on Shakespeare’s and Hamlet’s socio-cultural-political role in Hungary, as translations serve not merely as transparent channels of meaning but also as reflections on the political and cultural commitments of translators and their audiences.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 245-263
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Гамлет. Версия” Бориса Акунина как отказ от регламентации шекспировского интертекста
„Hamlet. Version” Boris Аkunin’s as a refusal of regulation of Shakespeare’s text
Autorzy:
Kiseleva, Kristina
Powiązania:
https://bibliotekanauki.pl/articles/915537.pdf
Data publikacji:
2018-09-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
postmodernism
dramaturgy
Shakespeare
Hamlet
Akunin
intertextuality
post-modernist language play
Opis:
The present article aims at analyzing one of the modern drama's strategies  — playing with a classical text. Boris Akunin's Hamlet. Version, which is at the core of my interests, is comparable to such famed Hamlet’s alterations as Tom Stoppard's Rosenkrantz and Guilderstern Are Dead. The uniqueness of Akunin's work lays in building the individual strategy, while taking into the mass recipient consideration. The forecast is not comforting — consumers are getting less and less sensitive and adequately formed to perceive  art. But one cannot say that Akunin is descending to his readers narrow horizons. He is  a mediator between highbrow and lowbrow, always beyond, never belonging to any category.
Źródło:
Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2016, 6; 97-105
2391-470X
Pojawia się w:
Kultury Wschodniosłowiańskie – Oblicza i Dialog
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
‘You too, my child?’ On trust and perfidy in classical literature
Autorzy:
Schade, Gerson
Powiązania:
https://bibliotekanauki.pl/articles/1046756.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Shakespeare
Hamlet
Julius Caesar
Alcibiades
Clytemnestra
Phaedra
Iason
Medea
πίστις
fides
Eduard Fraenkel
Émile Benveniste
Opis:
A tripartite approach is proposed in order to get hold of the complex phenomenon of trust and perfidy in classical literature. In a first part two cases of political treason are discussed: the most prominent victim of treason, Julius Caesar, who was very much surprised when he saw Brutus among his assassins, and the greatest traitor in antiquity ever, Alcibiades. Protean perfidy, however, is a gender-crossing issue, and a second part is dedicated to literary figures, in particular to women. Aeschylus’ Clytemnestra is an outstanding example of a perfidious character. Finally, a third part is concerned with words, for πίστις and fides have attracted the attention of classical scholars and structural linguists alike. At the beginning, however, Hamlet is introduced, an expert both in trust and perfidy as well as in classical literature.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2014, 24, 1; 185-201
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
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
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:
Budowa i funkcje układów białkowo-lipidowych
Structure and function of protein-lipid systems
Autorzy:
Litwińczuk-Mammadova, A.
Cieślik-Boczula, K.
Rospenk, M.
Powiązania:
https://bibliotekanauki.pl/articles/972303.pdf
Data publikacji:
2016
Wydawca:
Polskie Towarzystwo Chemiczne
Tematy:
odziaływania białko-lipid
liposomy DPPC
przejścia fazowe
α-laktoalbumina
kompleks HAMLET/BAMLET
stopiona globula
lipid-protein interactions
DPPC liposomes
phase transitions
α-lactalbumin
complex HAMLET/BAMLET
molten globule state
Opis:
Biomembranes play many structural and functional roles in both prokaryotic and eukaryotic cells [10]. They define compartments, the communication between the inside and outside of the cell. The main components of biomembranes are lipids and proteins, which form protein-lipid bilayer systems [10]. A structure and physicochemical properties of protein-lipid membranes, which determines biological activities of biomembranes, are strongly dependent on interactions between lipid and protein components and external agents such as a temperature, pH, and a membrane hydration [4]. A lipid bilayer matrix serves as a perfect environment for membrane proteins (Fig. 1), and it assures activities of these proteins. Because biomembranes are composed of many different groups of lipids and proteins and have a complex structure, it is difficult to study in details their physicochemical properties using physicochemical methods. For these reason, lipid membranes of liposomes are used in many scientific laboratories for studding processes associated with a lipid phase transition, a membrane hydration, or protein-membrane interactions. The structure of liposomes (Fig. 5), and an influence of pH and an ionic strength on a lipid bilayer structure are discussed in the presented work. The role of membrane proteins in determination of biological activities of biomembranes is highlighted. A high variety of a structure and an enzymatic activity of membrane proteins is responsible for a high diversity of biological functions of cell membranes [2]. α-Lactalbumin (α-LA) is a peripheral membrane protein (Figs 8 and 9), its biological function is strongly related to its conformational structure and interaction with lipid membranes [49]. The complex of α-LA in a molten globule conformational state with oleic acid, termed as a HAMLET complex, are disused in a context of its anti-tumor activity.
Źródło:
Wiadomości Chemiczne; 2016, 70, 11-12; 723-746
0043-5104
2300-0295
Pojawia się w:
Wiadomości Chemiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Class Oppression and Commodification in Shakespeare’s Hamlet and Merchant of Venice
Autorzy:
Royanian, Shamsoddin
Omrani, Elham
Powiązania:
https://bibliotekanauki.pl/articles/1192038.pdf
Data publikacji:
2016
Wydawca:
Przedsiębiorstwo Wydawnictw Naukowych Darwin / Scientific Publishing House DARWIN
Tematy:
Class Oppression
Commodification
Hamlet
Marxism
Merchant of Venice
Opis:
Karl Heinrich Marx tended to focus on considering how class struggle, oppressive ideologies, and social inequality are portrayed in literary texts throughout history in order to find a definite structural cause behind the modern exploitative capitalist system. One of these historical literary texts that attracted Marx’s attention was William Shakespeare’s to which he referred a lot. This paper intends to analyze Shakespeare’s Hamlet and Merchant of Venice in the light of Marxism to expose the upper classes’ oppressive behavior, their unethical victimization, exploitation, and commodification of the lower classes. Consequently, through a Marxist reading of Shakespeare’s plays, one can perceive that there are vivid links between Marxist and Shakespearean thinking, especially the similarities of thought held by each on the subjects of class oppression and commodification. Shakespeare portrayed the bitter social facts which Marxist thought tends to agree with.
Źródło:
World Scientific News; 2016, 50; 186-196
2392-2192
Pojawia się w:
World Scientific News
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Co mówi kostium? Idea, etyka, moda – wybrane wizerunki Hamleta w polskim teatrze najnowszym
What the costume says? Idea, ethics, fashion – chosen Hamlet’s images in Polish Contemporary Theatre
Autorzy:
Świąder-Puchowska, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/31339603.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
Tematy:
Hamlet
Szekspir
polski teatr najnowszy
kostium
Shakespeare
Polish contemporary theatre
costume
Opis:
W artykule przedstawiono analizę kilku wybranych, istotnych realizacji Hamleta Williama Szekspira, powstałych na polskich scenach w ciągu ostatnich dwudziestu lat, w interpretacji następujących twórców: Krzysztof Warlikowski, Jan Klata, Radosław Rychcik i Krzysztof Garbaczewski. Celem autorki jest ukazanie, jak interpretacja reżyserów i ich koncepcje, dotyczące postaci oraz całego dramatu (także te etyczne), znajdują swoje odzwierciedlenie w kostiumie głównego bohatera, będącym istotnym elementem komunikatu scenicznego, i odwrotnie – jak strona wizualna postaci Hamleta „odbija” główne trendy w interpretowaniu klasyki w polskim teatrze współczesnym.
The analysis presents a few selected important Polish theatre interpretations of Hamlet by William Shakespeare, realized during last twenty years by Krzysztof Warlikowski, Jan Klata, Radosław Rychcik and Krzysztof Garbaczewski. The main issue is to show how director’s interpretation and ideas are manifested in the costumes and creation of Hamlet’s character in each performance. And the other way around – how visual part of presenting each Hamlet expresses main trends in interpreting classics in Polish contemporary theatre in general.
Źródło:
Media Biznes Kultura; 2018, 1(4); 35-44
2451-1986
2544-2554
Pojawia się w:
Media Biznes Kultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Co zjada Hamleta? Robaki jako aktywni aktorzy w elsynorskiej (i nie tylko) gastronomii
What Eats Up Hamlet? Worms as Active Actors in the Elsinore (and Not Only) Gastronomy
Что съедает Гамлета? Черви как активные действующие лица в гастрономии Эльсинора (и не только)
Autorzy:
Sosnowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1009849.pdf
Data publikacji:
2020-12-29
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
green burial
Shakespeare
Hamlet
ecocriticism
interspecies connections
ecology
funeral practices
Шекспир
Гамлет
экокритика
межвидовые отношения
экология
погребальные обряды
зеленые захоронения
Opis:
Having been inspired by William Shakespeare’s Hamlet – a drama where both a ghost and a worm find their shelter – the author discusses contacts, interactions relations, and interdependence between human and non-human animals. During the investigation of his father’s “unnatural death,” Hamlet becomes aware of many natural phenomena, including organic cycle (in which worms play a crucial role). Although worms are culturally insignificant, they are significant organisms for ecosystems. As recyclers and fertilizers, they have real impact on ecosystem’s condition and equilibrium. The author exploits contemporary scientific knowledge to identify worms (mentioned in the play) by naming specific invertebrates in accordance with valid taxonomy. To refer to non-human Others, an innovative word – ‘The BioDiverse’ – is proposed. Additionally, Hamlet becomes an inspiration to reflect upon old and new funeral eco-practices, as well as the author’s future funeral – its place and form. The article is written from an ecocritical perspective.
В настоящей статье рассматриваются контакты, взаимодействия, отношения и даже межвидовые связи на материале одного из самых известных культурных текстов – Гамлет Уильяма Шекспира, в котором нашли убежище и привидение, и червь. Трагедия Гамлет затрагивает различные вопросы пространства/земли/гастрономии Эльсинора. Расследуя «неестественную» смерть своего отца, Гамлет замечает множество природных явлений, включая круговорот материи, в котором черви играют важнейшую роль. Автор статьи стремиться показать, что хотя черви мало что значат в культуре, то для экосистем они, перерабатывая органические остатки и удобряя землю, являются важными существами, которые оказывают реальное влияние на их состояние и баланс. Гамлет явится вдохновением для размышлений о старинных и современных похоронных практиках – с одной стороны, и о собственном будущем месте из церемонии захоронения автора статьи – с другой.
Źródło:
Zoophilologica. Polish Journal of Animal Studies; 2020, 6; 125-142
2719-2687
2451-3849
Pojawia się w:
Zoophilologica. Polish Journal of Animal Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czy Jan Kott stworzył mit? Jeszcze raz o "Hamlecie" ‘56 Romana Zawistowskiego
Did Jan Kot create the myth? Once again about 'Hamlet' '56 by Roman Zawistowski
Autorzy:
Świątkowska, Wanda
Powiązania:
https://bibliotekanauki.pl/articles/938222.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
'Hamlet'
William Szekspir
Jan Kott
Roman Zawistowski
polityka
odwilż gomułkowska
William Shakespeare
Gomułka's thaw
Opis:
The article presents the origins of Hamlet directed by Roman Zawistowski at the Stary Theatre in Krakow (1956) and is an attempt at answering the question: to what extent the famous Jan Kott’s review influenced its reception. The author analyzes the translation of the tragedy, the script of the play, acting, scenography and the historical context. By comparing the reviews with Kott’s interpretation, it is possible to indicate the areas where critics disagree, and at which point Kott’s review becomes opinion-oriented and establishes the reception of Zawistowski’s Hamlet – actually to this day.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria; 2019, 19; 178-193
2081-1853
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dostoevsky in English and Shakespearean Universality: A Cautionary Tale
Autorzy:
Thurman, Chris
Powiązania:
https://bibliotekanauki.pl/articles/1033501.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Dostoevsky
Russia
Underground
Hamlet
translation
universality
Opis:
This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 99-114
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dramaturgy of "Hamlet"(s) in Czech Theatre between 2000 and 2023
Autorzy:
Drozd, David
Powiązania:
https://bibliotekanauki.pl/articles/39774946.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
dramaturgy
directing
post-modern theatre
performance analysis
Czech theatre
Opis:
The paper focuses on five Czech productions of Hamlet that attracted the most critical and public attention between 2000 and 2023. Namely, the productions directed by Miroslav Krobot (2006), Jan Mikulášek (2009), Daniela Špinar (2013), Michal Dočekal (2021) and finally the most recent version by Jakub Čermák (2022). All five performances could be seen as contemporary reinterpretations of a classical text using a (post-)modern stylistic approach, as examples of post-millennium Hamlets. The paper discusses dramaturgical choices (such as the conceptualisation of the ghost, the mousetrap scene, or the character of Fortinbras) in order to identify and analyse possibilities for interpreting Hamlet as a political drama in the context of Czech performance tradition and the current political situation. The results show that performances generally present variations of Hamlet as a family drama, foregrounding different issues of memory and body, while the political reading is obsolete.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 177-192
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Duch Hamleta na szklanym ekranie
Depictions of Hamlet’s Father’s Ghost on Silver Screen
Autorzy:
Kwiatkowska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1109491.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Hamlet
Shakespeare
film adaptation
adaptation
Hamlet’s father’s ghost
Szekspir
ekranizacja
adaptacja
duch ojca Hamleta
Opis:
Każda ekranizacja, adaptacja filmowa lub wystawienie na scenie zawiera w sobie elementy interpretacji dzieła literackiego i determinuje określony sposób jego odczytania. Artykuł prezentuje to na przykładzie ekranizacji i adaptacji Hamleta Szekspira. W tekście przywołano dzieła filmowe takich twórców jak Laurence Olivier, Alan Dent, Akira Kurosawa, John Gielgud, Bill Colleran, Grigori Kozincew i Franco Zeffirelli. Ze szczególną uwagą omówiona została postać ojca Hamleta, różnorodnie przedstawiania w kolejnych ekranizacjach szekspirowskiego dramatu.
Every adaptation for the screen, film adaptation or a play put on stage includes the elements of interpretation of a literary work and determines the particular way it is interpreted. To illustrate this notion, the article introduces film adaptations of Shakespeare’s Hamlet. Big-screen versions of Hamlet directed by Laurence Olivier, Alan Dent, Akira Kurosawa, John Gielgud, Bill Colleran, Grigori Kozincew and Franco Zeffirelli are referred to in the text. Particular attention is given to the character analysis of Hamlet’s father’s ghost, variously depicted in the following film adaptations of the Shakespearean drama.
Źródło:
Polonistyka. Innowacje; 2016, 4; 155-166
2450-6435
Pojawia się w:
Polonistyka. Innowacje
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 54

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