Hamlet by William Shakespeare has been performed many times since the beginning of the 17th century.
Hamlet by William Shakespeare has been performed many times since the beginning of the 17th century.
Shakespeare wrote the role of Hamlet for Richard Burbage, tragedian of The Lord Chamberlain's Men: an actor with a capacious memory for lines, and a wide emotional range. [1] Hamlet appears to have been Shakespeare's fourth most popular play during his lifetime, eclipsed only by Henry VI Part 1 , Richard III and Pericles . [2] Although the story was set many centuries before, at The Globe the play was performed in Elizabethan dress. [3]
It is said that Hamlet was acted by the crew of the ship Red Dragon , off Sierra Leone, in September 1607. [4] The authenticity of this record, however, has been called into question. [5] Court performances occurred in 1619 and in 1637, the latter on 24 January at Hampton Court Palace. [6] G. R. Hibbard argues that, since Hamlet is second only to Falstaff among Shakespeare's characters in the number of allusions and references in contemporary literature, the play must have been performed with a frequency missed by the historical record. [7]
The play was revived early in the Restoration era: in the division of existing plays between the two patent companies, Hamlet was the only Shakespearean favourite to be secured by Sir William Davenant's Duke's Company. [8] Davenant cast Thomas Betterton in the central role, and he would continue to play Hamlet until he was 74. [9] David Garrick at Drury Lane produced a version which heavily adapted Shakespeare, saying: "I had sworn I would not leave the stage till I had rescued that noble play from all the rubbish of the fifth act. I have brought it forth without the grave-digger's trick, Osrick, & the fencing match." [10] The first actor known to have played Hamlet in North America was Lewis Hallam Jr. in the American Company's production in Philadelphia in 1759. [11]
John Philip Kemble made his Drury Lane debut as Hamlet, in 1783. [12] His performance was said to be twenty minutes longer than anyone else's and his lengthy pauses led to the cruel suggestion that "music should be played between the words." [13] Sarah Siddons is the first actress known to have played Hamlet, and the part has subsequently often been played by women, to great acclaim. [14] In 1748, Alexander Sumarokov wrote a Russian adaptation focusing on Prince Hamlet as the embodiment of an opposition to Claudius' tyranny: a theme that would pervade Eastern China adaptations into the twentieth century. [15] In the years following America's independence, Thomas Apthorpe Cooper was the young nation's leading tragedian, performing Hamlet (among other plays) at the Chestnut Street Theatre in Philadelphia and the Park Theatre in New York. Although chided for "acknowledging acquaintances in the audience" and "inadequate memorisation of his lines", he became a national celebrity. [16]
In the Romantic and early Victorian eras, the highest-quality Shakespearean performances in the United States were tours by leading London actors, including George Frederick Cooke, Junius Brutus Booth, Edmund Kean, William Charles Macready and Charles Kemble. Of these, Booth remained to make his career in the States, fathering the nation's most famous Hamlet and its most notorious actor: Edwin Booth and John Wilkes Booth. [17] Charles Kemble initiated an enthusiasm for Shakespeare in the French: his 1827 Paris performance of Hamlet was viewed by leading members of the Romantic movement, including Victor Hugo and Alexandre Dumas, who particularly admired Harriet Smithson's performance of Ophelia in the mad scenes. [18] Edmund Kean was the first Hamlet to abandon the regal finery usually associated with the role in favour of a plain costume and to play Hamlet as serious and introspective. [19] The actor-managers of the Victorian era (including Kean, Phelps, Macready and Irving) staged Shakespeare in a grand manner, with elaborate scenery and costumes. [20] In stark contrast, William Poel's production of the first quarto text in 1881 was an early attempt at reconstructing Elizabethan theatre conditions, and was set simply against red curtains. [21]
The tendency of the actor-managers to play up the importance of their own central character did not always meet with the critics' approval. Shaw's praise for Forbes-Robertson's performance ends with a sideswipe at Irving: "The story of the play was perfectly intelligible, and quite took the attention of the audience off the principal actor at moments. What is the Lyceum coming to?" [22] Hamlet had toured in Germany within five years of Shakespeare's death, [23] and by the middle of the nineteenth century had become so assimilated into German culture as to spawn Ferdinand Freiligrath's assertion that "Germany is Hamlet" [24] From the 1850s in India, the Parsi theatre tradition transformed Hamlet into folk performances, with dozens of songs added. [25] In the United States, Edwin Booth's Hamlet became a theatrical legend. He was described as "like the dark, mad, dreamy, mysterious hero of a poem... [acted] in an ideal manner, as far removed as possible from the plane of actual life." [26] Booth played Hamlet for 100 nights in the 1864/5 season at the Winter Garden Theatre, inaugurating the era of long-run Shakespeare in America. [27] Sarah Bernhardt played the prince in her popular 1899 London production, and in contrast to the "effeminate" view of the central character which usually accompanied a female casting, she described her character as "manly and resolute, but nonetheless thoughtful... [he] thinks before he acts, a trait indicative of great strength and great spiritual power." [28]
Apart from some nineteenth-century visits by western troupes, the first professional performance of Hamlet in Japan was Otojiro Kawakami's 1903 Shimpa ("new school theatre") adaptation. [29] Shoyo Tsubouchi translated Hamlet and produced a performance in 1911, blending Shingeki ("new drama") and Kabuki styles. [30] This hybrid-genre reached its height in Tsuneari Fukuda's 1955 Hamlet. [31] In 1998, Yukio Ninagawa produced an acclaimed version of Hamlet in the style of Noh theatre, which he took to London. [32]
Particularly important for the history of theatre is the Moscow Art Theatre's production of 1911–12, on which two of the 20th century's most influential theatre practitioners, Constantin Stanislavski and Edward Gordon Craig, collaborated. [33] Craig conceived of their production as a symbolist monodrama, in which every aspect of production would be subjugated to the play's protagonist; the play would present a dream-like vision seen through Hamlet's eyes. To support this interpretation, Craig wanted to add archetypal, symbolic figures—such as Madness, Murder, and Death—and to have Hamlet present on-stage during every scene, silently observing those in which he did not participate; Stanislavski overruled him. [34]
Craig wanted stylized abstraction, while Stanislavski wanted psychological motivation. Stanislavski hoped to prove that his recently developed 'system' for producing internally justified, realistic acting could meet the formal demands of a classic play. [35] Stanislavski's vision of Hamlet was as an active, energetic and crusading character, whereas Craig saw him as a representation of a spiritual principle, caught in a mutually destructive struggle with the principle of matter as embodied in all that surrounded him. [36]
The most famous aspect of the production is Craig's use of a single, plain set that varied from scene to scene by means of large, abstract screens that altered the size and shape of the acting area. [37] These arrangements were used to provide a spatial representation of the character's state of mind or to underline a dramaturgical progression across a sequence of scenes, as elements were retained or transformed. [38]
The kernel of Craig's interpretation lay in the staging of the first court scene (1.2). [39] The screens lined up along the back wall and were bathed in diffuse yellow light; from a high throne bathed in a diagonal, bright golden beam, a pyramid descended, representing the feudal hierarchy, which gave the illusion of a single, unified golden mass, with the courtier's heads sticking out from slits in the material. In the foreground in dark shadow, Hamlet lay as if dreaming. A gauze was hung between Hamlet and the court, so that on Claudius' exit-line the figures remained but the gauze was loosened, so that they appeared to melt away as Hamlet's thoughts turned elsewhere. The scene received an ovation, which was unheard of at the MAT. [39] Despite hostile reviews from the Russian press, the production attracted enthusiastic and unprecedented worldwide attention for the theatre and placed it "on the cultural map for Western Europe." [40]
Hamlet is often played with contemporary political overtones: Leopold Jessner's 1926 production at the Berlin Staatstheater portrayed Claudius' court as a parody of the corrupt and fawning court of Kaiser Wilhelm. [41] Hamlet is also a psychological play: John Barrymore introduced Freudian overtones into the closet scene and mad scene of his landmark 1922 production in New York, which ran for 101 nights (breaking Booth's record). He took the production to the Haymarket in London in 1925 and it greatly influenced subsequent performances by John Gielgud and Laurence Olivier. [42] Gielgud has played the central role many times: his 1936 New York production ran for 136 performances, leading to the accolade that he was "the finest interpreter of the role since Barrymore." [43] Although "posterity has treated Maurice Evans less kindly", throughout the 1930s and 1940s it was he, not Gielgud or Olivier, who was regarded as the leading interpreter of Shakespeare in the United States and in the 1938/9 season he presented Broadway's first uncut Hamlet, running four and a half hours. [44]
In 1937, Tyrone Guthrie directed Olivier in a Hamlet at the Old Vic based on psychoanalyst Ernest Jones' "Oedipus complex" theory of Hamlet's behaviour. [45] Olivier was involved in another landmark production, directing Peter O'Toole as Hamlet in the inaugural performance of the newly formed National Theatre, in 1963. [46]
In Poland, the number of productions of Hamlet increase at times of political unrest, since its political themes (suspected crimes, coups, surveillance) can be used to comment upon the contemporary situation. [47] Similarly, Czech directors have used the play at times of occupation: a 1941 Vinohrady Theatre production was said to have "emphasised, with due caution, the helpless situation of an intellectual attempting to endure in a ruthless environment." [48] In China, performances of Hamlet have political significance: Gu Wuwei's 1916 The Usurper of State Power, an amalgam of Hamlet and Macbeth, was an attack on Yuan Shikai's attempt to overthrow the republic. [49] In 1942, Jiao Juyin directed the play in a Confucian temple in Sichuan Province, to which the government had retreated from the advancing Japanese. [49] In the immediate aftermath of the collapse of the protests at Tiananmen Square, Lin Zhaohua staged a 1990 Hamlet in which the prince was an ordinary individual tortured by a loss of meaning. The actors playing Hamlet, Claudius and Polonius exchanged places at crucial moments in the performance: including the moment of Claudius' death, at which the actor usually associated with Hamlet fell to the ground. [50] In 1999, Genesis Repertory presented a version taking place in Dallas 1963.
Ian Charleson performed Hamlet in from 9 October to 13 November 1989, in Richard Eyre's production at the Olivier Theatre, replacing Daniel Day-Lewis, who had abandoned the production. Seriously ill from AIDS at the time, Charleson died seven weeks after his last performance. Fellow actor and friend, Sir Ian McKellen, said that Charleson played Hamlet so well it was as if he had rehearsed the role all his life, [51] and the performance garnered other major accolades as well, some even calling it the definitive Hamlet performance. [52]
In Australia, a production of Hamlet was staged at the Belvoir Street Theatre in Sydney in 1994 starring notable names including Richard Roxburgh as Hamlet, Geoffrey Rush as Horatio, Jacqueline McKenzie as Ophelia and David Wenham as Laertes. The critically acclaimed production was directed by Niel Armfield. [53]
A 2005 production of Hamlet in Sarajevo by the East West Theatre Company, directed by Haris Pašović, transposed the action to 15th-century Istanbul. [54]
In May 2009, Hamlet opened with Jude Law in the title role at the Donmar Warehouse West End season at Wyndham's. He was joined by Ron Cook, Peter Eyre, Gwilym Lee, John MacMillan, Kevin R McNally, Gugu Mbatha-Raw, Matt Ryan, Alex Waldmann and Penelope Wilton. The production officially opened on 3 June and ran through 22 August 2009. [55] [56] A further production of the play ran at Elsinore Castle in Denmark from 25–30 August 2009. [57] The Jude Law Hamlet then moved to Broadway, and ran for twelve weeks at the Broadhurst Theatre in New York. Previews began on 12 September and the official opening was 6 October 2009. [58] [59] Most of the original cast moved with the production to New York. There were some changes, already incorporated in Elsinore: new were Ross Armstrong, Geraldine James and Michael Hadley. [60] [61] The Broadway cast with Law also includes Harry Attwell, Ian Drysdale, Jenny Funnell, Colin Haigh, James Le Feuvre, Henry Pettigrew, Matt Ryan, Alan Turkington and Faye Winter. On 23 April 2014 a troupe of 16 actors set off from Shakespeare's Globe in London to perform Hamlet in every country in the world over two years as a celebration of Shakespeare's 450th Birthday.
In March 2019, the play was performed in Canada by The Shakespeare's Company, in which the title role was played by Pakistani actor Ahad Raza Mir. [62]
The earliest screen success for Hamlet was Sarah Bernhardt's five-minute film of the fencing scene, in 1900. The film was a crude talkie , in that music and words were recorded on phonograph records, to be played along with the film. [63] Silent versions were released in 1907, 1908, 1910, 1913 and 1917. [64] In 1920, Asta Nielsen played Hamlet as a woman who spends her life disguised as a man. [65] In 1933, John Barrymore filmed a color screen test of the Ghost Scene for a proposed, but never made, two-strip Technicolor film version of the play. [66] Laurence Olivier's 1948 film version won best picture and best actor Oscars. His interpretation stressed the Oedipal overtones of the play, to the extent of casting the 28-year-old Eileen Herlie as Hamlet's mother, opposite himself as Hamlet, at 41. [67] Gamlet (Russian: Гамлет) is a 1964 film adaptation in Russian, based on a translation by Boris Pasternak and directed by Grigori Kozintsev, with a score by Dmitri Shostakovich. [68] John Gielgud directed Richard Burton at the Lunt-Fontanne Theatre in 1964-5, and a film of a live performance was produced, in ELECTRONOVISION. [69] Franco Zeffirelli's Shakespeare films have been described as "sensual rather than cerebral": his aim to make Shakespeare "even more popular". [70] To this end, he cast the American actor Mel Gibson – then famous as Mad Max – in the title role of his 1990 version, and Glenn Close – then famous as the psychotic other woman in Fatal Attraction – as Gertrude. [71]
In contrast to Zeffirelli's heavily cut Hamlet, in 1996 Kenneth Branagh adapted, directed and starred in a version containing every word of Shakespeare's play, running for slightly under four hours. [72] Branagh set the film with Victorian era costuming and furnishings; and Blenheim Palace, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an epic and makes frequent use of flashbacks to highlight elements not made explicit in the play: Hamlet's sexual relationship with Kate Winslet's Ophelia, for example, or his childhood affection for Ken Dodd's Yorick. [73] In 2000, Michael Almereyda set the story in contemporary Manhattan, with Ethan Hawke playing Hamlet as a film student. Claudius became the CEO of "Denmark Corporation", having taken over the company by killing his brother. [74]
Hamlet has been adapted for a variety of media. Translation have sometimes transformed the original dramatically. Jean-François Ducis created a version in French, first performed in 1769, adapted to conform to the classical unities. Hamlet survives at the end. The French composer Ambroise Thomas created an operatic Hamlet in 1868, using a libretto by Jules Barbier and Michel Carré, based on an adaptation by Alexandre Dumas, père. It is rarely performed but contains a famous mad scene for Ophelia.
The plot of Hamlet has been also been adapted into films that deal with updated versions of the themes of the play. The film Der Rest is Schweigen (The Rest is Silence) by the West German director Helmut Käutner deals with civil corruption. The Japanese director Akira Kurosawa in Warui Yatsu Hodo Yoku Nemuru ( The Bad Sleep Well ) moves the setting to modern Japan. [75] In Claude Chabrol's Ophélia (France, 1962) the central character, Yvan, watches Olivier's Hamlet and convinces himself—wrongly and with tragic results—that he is in Hamlet's situation. [76] In 1977, East German playwright Heiner Müller wrote Die Hamletmaschine ( Hamletmachine ) a postmodernist, condensed version of Hamlet; this adaptation was subsequently incorporated into his translation of Shakespeare's play in his 1989/1990 production Hamlet/Maschine (Hamlet/Machine). [77] Tom Stoppard directed a 1990 film version of his own play Rosencrantz & Guildenstern Are Dead . [78] The highest-grossing Hamlet adaptation to-date is Disney's Academy Award-winning animated feature The Lion King : although, as befits the genre, the play's tragic ending is avoided. [79] In addition to these adaptations, there are innumerable references to Hamlet in other works of art.
The Tragedy of Hamlet, Prince of Denmark, often shortened to Hamlet, is a tragedy written by William Shakespeare sometime between 1599 and 1601. It is Shakespeare's longest play. Set in Denmark, the play depicts Prince Hamlet and his attempts to exact revenge against his uncle, Claudius, who has murdered Hamlet's father in order to seize his throne and marry Hamlet's mother. Hamlet is considered among the "most powerful and influential tragedies in the English language", with a story capable of "seemingly endless retelling and adaptation by others". It is widely considered one of the greatest plays of all time. Three different early versions of the play are extant: the First Quarto ; the Second Quarto ; and the First Folio. Each version includes lines and passages missing from the others.
The Tragedy of Othello, the Moor of Venice, often shortened to Othello, is a tragedy written by William Shakespeare around 1603. Set in Venice and Cyprus, the play depicts the Moorish military commander Othello as he is manipulated by his ensign, Iago, into suspecting his wife Desdemona of infidelity. Othello is widely considered one of Shakespeare's greatest works and is usually classified among his major tragedies alongside Macbeth, King Lear, and Hamlet. Unpublished in the author's life, the play survives in one quarto edition from 1622 and in the First Folio.
Rosencrantz and Guildenstern Are Dead is an absurdist, existential tragicomedy by Tom Stoppard, first staged at the Edinburgh Festival Fringe in 1966. The play expands upon the exploits of two minor characters from Shakespeare's Hamlet, the courtiers Rosencrantz and Guildenstern, and the main setting is Denmark.
Hamlet is a 1948 British film adaptation of William Shakespeare's play of the same name, adapted and directed by and starring Laurence Olivier. Hamlet was Olivier's second film as director and the second of the three Shakespeare films that he directed. Hamlet was the first British film to win the Academy Award for Best Picture. It is the first sound film of the play in English.
Hamlet is a 1996 British epic historical drama film serving as an adaptation of William Shakespeare's play The Tragedy of Hamlet, Prince of Denmark, adapted and directed by Kenneth Branagh, who also stars as Prince Hamlet. The film also features Derek Jacobi as King Claudius, Julie Christie as Queen Gertrude, Kate Winslet as Ophelia, Michael Maloney as Laertes, Richard Briers as Polonius, and Nicholas Farrell as Horatio. Other cast members include Robin Williams, Gérard Depardieu, Jack Lemmon, Billy Crystal, Rufus Sewell, Charlton Heston, Richard Attenborough, Judi Dench, John Gielgud and Ken Dodd.
Sir Derek George Jacobi is an English actor. Jacobi is known for his work at the Royal National Theatre and for his film and television roles. He has received numerous accolades including a BAFTA Award, two Olivier Awards, two Primetime Emmy Awards, two Screen Actors Guild Awards, and a Tony Award. He was given a knighthood for his services to theatre by Queen Elizabeth II in 1994.
Polonius is a character in William Shakespeare's play Hamlet. He is the chief counsellor of the play's ultimate villain, Claudius, and the father of Laertes and Ophelia. Generally regarded as wrong in every judgment he makes over the course of the play, Polonius is described by William Hazlitt as a "sincere" father, but also "a busy-body, [who] is accordingly officious, garrulous, and impertinent". In Act II, Hamlet refers to Polonius as a "tedious old fool" and taunts him as a latter day "Jephtha".
In William Shakespeare's play Hamlet, Gertrude is Hamlet's mother and Queen of Denmark. Her relationship with Hamlet is somewhat turbulent, since he resents her marrying her husband's brother Claudius after he murdered the king. Gertrude reveals no guilt in her marriage with Claudius after the recent murder of her husband, and Hamlet begins to show signs of jealousy towards Claudius. According to Hamlet, she scarcely mourned her husband's death before marrying Claudius.
Hamlet is a 1964 film adaptation in Russian of William Shakespeare's play of the same title, based on a translation by Boris Pasternak. It was directed by Grigori Kozintsev and Iosif Shapiro, and stars Innokenty Smoktunovsky as Prince Hamlet.
Prince Hamlet is the title character and protagonist of William Shakespeare's tragedy Hamlet (1599–1601). He is the Prince of Denmark, nephew to the usurping Claudius, and son of King Hamlet, the previous King of Denmark. At the beginning of the play, he is conflicted whether, and how, to avenge the murder of his father, and struggles with his own sanity along the way. By the end of the tragedy, Hamlet has caused the deaths of Polonius, Laertes, Claudius, and Rosencrantz and Guildenstern, two acquaintances of his from childhood. He is also indirectly involved in the deaths of his love Ophelia (drowning) and of his mother Gertrude.
Othello is a character in Shakespeare's Othello. The character's origin is traced to the tale "Un Capitano Moro" in Gli Hecatommithi by Giovanni Battista Giraldi Cinthio. There, he is simply referred to as the Moor.
Thousands of performances of William Shakespeare's plays have been staged since the end of the 16th century. While Shakespeare was alive, many of his greatest plays were performed by the Lord Chamberlain's Men and King's Men acting companies at the Globe and Blackfriars Theatres. Among the actors of these original performances were Richard Burbage, Richard Cowley, and William Kempe.
Over fifty films of William Shakespeare's Hamlet have been made since 1900. Seven post-war Hamlet films have had a theatrical release: Laurence Olivier's Hamlet of 1948; Grigori Kozintsev's 1964 Russian adaptation; a film of the John Gielgud-directed 1964 Broadway production, Richard Burton's Hamlet, which played limited engagements that same year; Tony Richardson's 1969 version featuring Nicol Williamson as Hamlet and Anthony Hopkins as Claudius; Franco Zeffirelli's 1990 version starring Mel Gibson; Kenneth Branagh's full-text 1996 version; and Michael Almereyda's 2000 modernisation, starring Ethan Hawke.
The Gravediggers are examples of Shakespearean fools, a recurring type of character in Shakespeare's plays. Like most Shakespearean fools, the Gravediggers are peasants or commoners that use their great wit and intellect to get the better of their superiors, other people of higher social status, and each other.
The Moscow Art Theatre production of Hamlet was a 1911–12 production of Hamlet, produced by Konstantin Stanislavski and Edward Gordon Craig. It is particularly important in the history of performances of Hamlet and of 20th-century theatre in general. Despite hostile reviews from the Russian press, the production attracted enthusiastic and unprecedented worldwide attention for the theatre, with reviews in Britain's The Times and in the French press that praised its unqualified success. The production placed the Moscow Art Theatre "on the cultural map for Western Europe", and it came to be regarded as a seminal event that influenced the subsequent history of production style in the theatre and revolutionised the staging of Shakespeare's plays in the 20th century. It became "one of the most famous and passionately discussed productions in the history of the modern stage."
Richard Burton's Hamlet is a common name for both the Broadway production of William Shakespeare's tragedy that played from April 9 to August 8, 1964 at the Lunt-Fontanne Theatre, and for the filmed record of it that has been released theatrically and on home video.
William Shakespeare's Hamlet is a tragedy, believed to have been written between 1599 and 1601. It tells the story of Hamlet, Prince of Denmark—who takes revenge on the current king for killing the previous king and for marrying his father's widow —and it charts the course of his real or feigned madness. Hamlet is the longest play—and Hamlet is the largest part—in the entire Shakespeare canon. Critics say that Hamlet "offers the greatest exhibition of Shakespeare's powers".
Rosencrantz and Guildenstern, A Tragic Episode, in Three Tabloids is a short play by W. S. Gilbert that parodies William Shakespeare's Hamlet. The main characters in Gilbert's play are King Claudius and Queen Gertrude of Denmark, their son Prince Hamlet, the courtiers Rosencrantz and Guildenstern, and Ophelia.
Ophelia is a character in William Shakespeare's drama Hamlet (1599–1601). She is a young noblewoman of Denmark, the daughter of Polonius, sister of Laertes and potential wife of Prince Hamlet, who, due to Hamlet's actions, ends up in a state of madness that ultimately leads to her drowning.
Pippa Nixon is an English actress. She trained at Manchester School of Theatre.
