NEW & notes :



2008 Hamlet2.0
The Tragedy of Hamlet, Prince of Denmark is a four hundred year old play by the famous English dramatist William Shakespeare. In the play, Hamlet is a young prince who has left the family castle in the country to attend university in Wittenberg in Germany. He is called home when his father the king dies mysteriously and his mother marries the king’s uncle. When his father’s ghost appears shortly after his return, he finds that his father was murdered by his brother who is the new king and Hamlet’s stepfather/uncle. The ghost of his father tells Hamlet he must avenge the murder. Hamlet is deeply troubled at the prospect of committing murder as revenge but he loved and honoured his father and is furious with his mother. In the end, Hamlet, his mother, his uncle and his cousin are dead such that Fortinbras, the prince of Norway remarks that death has ‘so many princes at a shot so bloodily has struck’.

StageMatrix: Theatre Directing **

Scene IV

More links:

Who is mad?

The Hamlet Paradigm



James Joyce's Hamlet

Pasternak's Hamlet

vShows & Forums:

3 Sisters: Method Acting
12 Night:Biomehcnaics
WWWilde: Acting One

I realize that we won't answer all the questions, but our task is different -- we have to ask new (right) questions (see new page Ideas).

Glossary of Legal Terminology

Crimes, Accomplices, and Defenses.
Crimes Against the Person
Crimes Against Morality


William Shakespeare (1564-1616) was born in Stratford-upon-Avon, a town to the northwest of London in Warwickshire. As The Wadsworth Anthology of Drama in your reader tells us, Shakespeare was one of eight children, the son of a glover – a tradesman who made various goods out of leather. At school he would have learnt Latin grammar, rhetoric and literature. Works that he would have read at school and on which he later drew as source material for his plays were: plays by the Romans Plautus and Terence, the poetry of Virgil and Ovid and the writings of Caesar.


There has been much debate about Shakespeare’s actual authorship of the plays that are attributed to him. Some have suggested that someone else wrote them either Sir Francis Bacon, Francis Walsingham or the Earl of Oxford. Worthen dismisses these claims and puts them in the realm of myth-making.


According to the editors of The Oxford Shakespeare Volume 111 The Tragedies (1987) The Revenge of Hamlet prince [of] Denmark is first referred to in the Stationers’ Register on 26 July 1602 ‘when it was said to have been lately acted by the Lord Chamberlain his servants’. Thus in modern terms it first appeared in written form as a reconstruction of the live performance. In 1603 there appeared ‘an inferior text apparently assembled from actors’ memories’. It had 2,200 lines (1121). In the following year, ‘a true and perfect copy’ was published and this is the longest version.
The Oxford editors believe that Shakespeare wrote Hamlet about 1600, and revised it later. The 1604 version appears to have been printed from Shakespeare’s original papers. The Oxford Shakespeare sees the plot of Hamlet originating in a Scandinavian folk-tale told in the twelfth century Danish History written in Latin by the Danish Saxo Grammaticus. Francois de Belleforest retold it in the fifth volume of his Histoires Tragiques (1570) that was not translated into English until 1608 although Shakespeare would have been able to read it in Latin.
The editors make the not unreasonable claim that Hamlet ‘ has had a profound influence on western culture’ while the character has entered ‘the world of myth’. The play was instantly popular and enduring and has been brought to life again and again in the various stage and film versions of the play, in which the great actors of our times prove themselves through playing Hamlet.

Shakespeare @ Amazon


The play I use in all my classes!
Virtual Tragedy
HamletDreams team and visitors! Since this production is a part of the Virtual Theatre Project get yourself familiar with the previous vTheatre shows and webpages on this concept.
The present directory consists of pages on characters (cast), creative team (designers) and public (chorus).
Notes and links are not fully sorted (it will be done, when the show is over).

Virtual Theatre (new technologies in live shows) is a new and complex field and in every new production we try to touch diffent aspects of it. Consider it not only as entertainment, but also as a research. Most of us are familiar with the Virtual Reality (VR) through the games (the name indicates that this "reality" is not real and exists only in digital forms), but "virtual" in LIVE theatre shouldn't negate real actors and real audience (people in the same time and place experiencing the spectacle). But what about the cyber-public that via webcasting can experience the show in the same time (live TV)? Well, they do not experience the same show, but what was "shows" by the video-performers (as we call them). How does it effect the live production?

The vShows must be organized differently from the concept stage... Even the scripts must be rearranged?

Here are some question (from ASTR List -- American Society for Theatre Research)about "what is virtual theatre?"

[ pix ] it theatre whose sets, costumes, lights and actors exist nowhere except in streams of digits (as in interactive narrative games)?

is it theatre that employs one or more of those virtual elements while still involving some 'real-world' aspects (as in some of MIT's immersive environments)?

is it any theatre that uses digital media in any manner apparent to its audience (thus discounting computer light boards or incidental music/sound effects from CD)?

how do virtual and non-virtual theatres effect one another? will they? must they? (ie - after they've seen "the matrix" is even the most brilliant production of "the crucible" likely to keep them glued to their seats?)

and finally, can we say that theatre hasn't always been virtual (if we define virtual as a form of mimetic play) -- aren't wine-sop stained faces and gaslights just low-tech forms of virtuality?

I start where Lee Smith (University of Georgia) ends -- the theology invented the word "virtual" to describe the superier, pure form of existence (that is the world of art)... and only later the 20th century physics picked up the term. Transmiting my reality to the reality of your world impossible without this virtual world where we meet to share the experience of reality. 400 years after "Hamlet" was written (1601) we still can enter the Shakepeare's reality! Because it was transformed into a new reality (should I say "humanized reality"), surpassing the historical time and space limitations (theology of eternity again).

The nature of technology is debated since the 60s, but one way or another our new technologies represent the synthesis of knowledge and labor of the past and present, the humanity. Does it makes us "super-humans"? Only potentially, if the humans in us understand our new postmodern (POMO) conditions... (for my "metaphysical" writings see POV or/and TECH).

The POMO generation (after 1968) yet to reflect on the effect of the hi-tech environment on us, but if the camera is an extention of my eye, what is my eye as an extention of the camera? The question can be push further -- what is me under the constant gaze of all (see Foucaut or Deleuze)? This is the intellectual basis for organizing the "composition" of the HamletDreams (we do not stage Hamlet, we reflect on it).

Here is my reply to ASTR (one sample of the exchange):


do you mean "present" as the same time and space? Could be in one time-frame (live TV), or the same space defines live performance? Should we consider changing "Virtual Theatre" to "Virtual Performance"? The old questuion, but since the "new" (one) spectator is interacting (through his keyboard, for example) does it make him a participant (ritual mode)?

"I propose that what we offer is something alive and present, shared with others who are also alive and present."

Sport events are alive watched by alive public.

The size of the frame (screen) and 2D is only a matter of technology (VR suit puts the screen on our bodies).

"Theatre of One" (One as the Public) is something I experience during the rehearsals. Could I extend my position to many others? That is what we do when the show is opened, but even as one I and the actors do have theatre phenomena present.

The lighting was anew technology three generations back -- and did change the theatre experience to the point that the texts for stage went through a rather dramatic transformation. The moment we introduced the body-mikes, we brough in the digital path; yes, it's an extention of the real voice, but how real is real, if I can manipulate it from the board?

"Struggle" is the right word, but theatre doesn't compete with TV or cinema, like dance doesn't compete with music. Theatre is the old medium, the problem is that this media is so old that includes all others. Movies were born out of theatre (as "Information Technology" model, as they would say today), we still have it -- movie "theatres"! In fact, every new techno-phenomena is based on theatre, including the Internet and Web. My or your email is an act. Dramatic in nature? Phone conversation could be shaped in a way, when it becomes a spectacle = presence of the audiece (in our case ASTR list). Struggle with new technologies is not a struggle aginst it. Our new technologies are the forms of the old rituals (the current discussion on the Greek Chorus was interesting for me, because we still do have this chorus in different forms; media, for example). I think that 25 centuries ago "Theatre" struggled with the "Ritual" (different mode of performance) -- the stage, plays and so on were the new "technology"

Very much like you I not see live theatre in VR games, although we have "live" spectator, who is a player at the same time. But to want degree should we consider "Theatre of One," when I am the only spectator of my performance for myself?

Hamlet, outline

Ghost's Vocabulary

Supernatural in Shakespeare's Plays


"Remember me"

Folks, I am updating Hamlet pages every day before meeting with you at night; please check them out regularly. Anatoly 2001

NEW: I am using HAMLET as a showcase play for Directing Class: check it out!


Young man entering the world -- and exits, no place for him. Or was his, the young, mission to change the world? See "Court" page.

Read Shake pages in SCRIPT ANALYSIS!


I will make FAQ page for questions. Is Hamlet happy after his death (all the jokes retelling the story, see links and appendix).

Do you understand the difference between drama and tragedy?


I try to restore the original text online (Frence scenes), but the HamletDreams will evolve from the exploration of the main characters in our (postmodern) conditions against our historical background.
* GODOT.06: Doing Beckett => main stage Theatre UAF Spring 2006 *

Hamlet2.0 = Rosencrantz & Guildenstern are Dead (Theatre UAF 2008)


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