Hamlet2001 * hamletdreams *
shakespeare + S-Comedy + S-History +
hamlet0.1

webshow -- 2008

...


2007-2008
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Take 2
Shakeespeare Pages
"HamletDreams" is the best example of what is wrong with me and America circa 2001.

"The show was a success, but the public was a disaster." Oscar Wilde.

texts:

title
intro

Ghost

Fight

Grave

Death

Madness

Love

Prayer

Closet


HamletDreams

SHOWS

eGroup: vtheatre

HAMLET DVD Kenneth Branagh

Shostakovich

Hamlet Play

* 2005: Oedipus + Chekhov - Farces *

Intro


HamletDreams TEXT title

* Texts to use in classes (drama = script.vtheatre.net, acting = sct.vtheatre.net, directing = direct.vtheatre.net) *
2001 Dramatic Composition -- "HamletDreams" (Theatre UAF Main Stage)

1. Ghost & Hamlet (1/5)

2. LOVE: Breakup Hamlet and Ophelia

3. Hamlet's love letter

4. "Queen Closet Scene", Polonius dead

Act 3, SCENE IV. http://www.shakespeare-literature.com/Hamlet/11.html * Is there any basis for the Freudian interpretation of an Oedipal attraction between Hamlet and his mother? Hamlet does seem obsessed with his mother's sexuality. How old is Hamlet? How old do you think Gertrude is? Is Hamlet's disgust at Gertrude's sexuality justified? To what extent is Gertrude guilty? Was she "in on" her husband's murder? Has Claudius confided in her since the murder? How does Hamlet's perception of his mother affect his behavior or attitude toward Ophelia? Why does he tell Ophelia to go to a nunnery? Does Hamlet really love Ophelia? If so, why is he cruel to her?
studyguise.org/hamlet

5. Ophelia Madness (4/5)

6. Ophelia's Death (4/7) Grave fight, over dead Ophelia

7. Claudius Prayer: Why does Hamlet wait so long to kill Claudius? What are the reasons for his hesitation? How valid are they? How many times does he have the opportunity to attack Claudius? What are his reasons for not doing so?

8. Finale -- "Dead"

FIGHT -- Final Battle scene between Laertes and Hamlet, Death of all.

Some texts (scenes) are not linked *

TRAGEDY: Tragedy usually focuses on figures of stature whose fall implicates others--a family, an entire group, or even a whole society--and typically the tragic protagonist becomes isolated from his or her society (Phedre's "outcast and fugitive from all" would suit Lear and Hamlet as well). Tragic Vision
[ from A Guide to the Study of Literature: A Companion Text for Core Studies 6, Landmarks of Literature, ©English Department, Brooklyn College. ]

"Hamlet's tragedy is a tragedy of failure-the failure of a man placed in critical circumstances to deal successfully with those circumstances. In some ways, Hamlet reminds us of Brutus in Shakespeare's Julius Caesar. Hamlet and Brutus are both good men who live in trying times; both are intellectual, even philosophical; both men want to do the right thing; both men intellectualize over what the right thing is; neither man yields to passion. But here the comparison ends, for though both Brutus and Hamlet reflect at length over the need to act, Brutus is able immediately to act while Hamlet is not. Hamlet is stuck thinking too precisely on th' event-. Hamlet's father, the king of Denmark, has died suddenly. The dead king's brother,Claudius, marries Hamlet's mother and swiftly assumes the throne, a throne that Hamlet fully expected would be his upon the death of his father. Hamlet's father's ghost confronts Hamlet and tells him that his death was not natural, as reported, but instead was murder. Hamlet swears revenge. But rather than swoop instantly to that revenge, Hamlet pretends to be insane in order to mask an investigation of the accusation brought by his father's ghost. Why Hamlet puts on this antic disposition and delays in killing Claudius is the central question of the play. But Hamlet did not swear to his dead father that he, detective-like, would investigate. Hamlet swore revenge. And he has more than enough motivation to exact revenge. Does it not, think thee, stand me now upon- He that hath killed my king, and whored my mother; Popped in between th' election and my hopes, Thrown out his angle for my proper life, And with such cozenage-is't not perfect conscience To quit him with this arm? And is't not to be damned To let this canker of our nature come In further evil? (Act 5, scene 2 . . . to Horatio) Yet he delays. It is this delay in performing the act he has sworn to accomplish which leads to Hamlet's death. The poison on the tip of Laertes' sword is but a metaphor for the poison of procrastination which has been coursing through Hamlet's system throughout the play. Hamlet's thoughts focus upon death rather than upon action. His words show an intense longing for death: O that this too too solid flesh would melt Thaw and resolve itself into a dew, Or that the everlasting had not fixed His canon 'gainst self-slaughter. (Act I, scene 2) In Act 3, Scene 1 Hamlet restates this theme: To be, or not to be, that is the question- The answer eludes Hamlet throughout the play, perhaps because it is the wrong question. Hamlet is alive and to be alive means 'to do,' not merely to be. It is his inability to 'do,' his tendency to reflect rather than to act which poisons Hamlet's resolve and causes his tragic death." {essays.cc)


[ The texts of Hamlet used in Theatre UAF production "HamletDreams" ]

I use the production webpages for classes (comedy: Shakespeare, the 12th Night, The taming of the Sherew and Wilde, The Importance of Being Earnest)

Summary

One-act script "HamletDreams" (see right table)

Web-show: [ still "under construction" ]

Questions

[ Which scene is repeted twice? POVs. ]

Notes (the Dante Page and Chorus), The Bridge between Audience and Stage, Brecht's Epic Theatre [ ]

Notes

MyShows
Principal Hamlet Soliloquies and Key Scenes --A Checklist by Dr. Debora B. Schwartz of Cal Poly

Soliloquy 1: I.ii.129-59 "O that this too too sullied flesh. . ."
Soliloquy 2: I.v.92-112 "O all you host of heaven!. . ."
Soliloquy 4: III.i.56-88 "To be, or not to be. . ."
Soliloquy 5: III.ii.396-407 "'Tis now the very witching time..."
Soliloquy 6: III.iii.73-96 "Now might I do it pat. . ."
Soliloquy 7: IV.iv.32-66 "How all occasions do inform against me. . ."

Council scene: I.ii.1-128
Fishmonger scene: II.ii.171-224
Schoolfellow scene: II.ii.225-388
Nunnery scene: III.i.88-164
The Mousetrap play scene: III.ii.94-276
Prayer scene: III.iii.36-98
Closet scene/Portrait scene: III.iv.1-53; III.iv.54-218
Ophelia's madness scenes: IV.v.21-73; IV.v.154-198
Graveyard scene: V.i.1-294

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