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1

Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM

100%

Sosnowska M.

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nr 32

81-93

EN

Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?

2

Hamlet Szekspira a tragedie Seneki (Shakespeare’s ‘Hamlet’ and Seneca’s Tragedies)

88%

Hajduk J.

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nr 1

109-125

PL

In this paper I am discussing some crucial resamblences between ancient tragedy of Seneca the Younger and Hamlet by William Shakespeare. I want to show how important is to have in mind Seneca’s efforts while trying to understand „philosophy” and structure of Hamlet.

3

Women And Visual Representations Of Space In Two Chinese Film Adaptations OfHamlet

88%

CHEANG W. F.

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nr 1

1-21

EN

This paper studies two Chinese film adaptations of Shakespeare’s Hamlet, Xiaogang Feng’s The Banquet (2006) and Sherwood Hu’s Prince of the Himalayas (2006), by focusing on their visual representations of spaces allotted to women. Its thesis is that even though on the original Shakespearean stage details of various spaces might not be as vividly represented as in modern film productions, spaces are still crucial dramatic elements imbued with powerful significations. By analyzing the two Chinese film adaptations alongside the original Hamlet text, the paper attempts to reinterpret their different representations of spaces in relation to their different historical-cultural gender notions.

4

Duch Hamleta na szklanym ekranie

87%

Kwiatkowska A.

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nr 4

155-166

EN

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.

PL

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.

5

Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of "Hamlet"

75%

Keinänen N.

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tom 18

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nr 33

23-42

EN

This article examines the subjective aesthetic criteria used to assess two Finnish translations of Hamlet, one by Eeva-Liisa Manner (1981) and the other by Matti Rossi (2013), both accomplished translators for the stage. A survey consisting of one general question (“Briefly describe your idea of how Shakespeare translation should sound in Finnish, and what you think are the qualities of a good Shakespeare translation”) and five text extracts was distributed on paper and electronically, generating 50 responses. For the extracts, respondents were asked whether one or the other translation most closely dorresponded to their idea of what a Shakespeare translation should sound like and why, along with questions on whether they would prefer to see or read one or the other. The results show that there are no strong shared expectancy norms in Finland regarding Shakespeare translation. Manner was generally felt to be more concise and poetic, while Rossi was praised for his exquisite use of modern Finnish. Respondents agreed that rhythm was an important criterion, but disagreed on what sorts of rhythms they preferred. Translation of the “to be or not to be” speech raised the most passions, with many strongly preferring Manner’s more traditional translation. The results suggest that Shakespeare scholars would do well to take variations in expectancy norms into account when assessing and analysing Shakespeare in translation.

6

Hamlet Underground: Revisiting Shakespeare and Dostoevsky

75%

Thurman C.

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tom 18

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nr 33

79-92

EN

This is the first of a pair of articles that consider the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. Acknowledging Shakespeare’s well-known influence on Dostoevsky and paying close attention to similarities between the two texts, the author frames the comparison by reflecting on his own initial encounter with Dostoevsky in David Magarshack’s 1968 English translation. A discussion of previous Anglophone scholarly attempts to explore the resonance between the texts leads to a reading of textual echoes (using Magarshack’s translation). The wider phenomenon of Hamletism in the nineteenth century is introduced, complicating Dostoevsky’s national and generational context, and laying the groundwork for the second article-which questions the ‘universalist’ assumptions informing the English translator-reader contract.

7

Shakespeare, Authority and Hauntology: Postdramatic Performance in Walny Theatre’s Hamlet

75%

Lorek-Jezińska E.

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nr 32

21-34

EN

The aim of this article is to explore the potential of hauntological theories to explain and problematise selected aspects of authority and performance in the context of Shakespeare’s drama. Referring primarily to Derrida’s and Abraham’s concepts of the ghost and the phantom and their connection to Shakespeare’s Hamlet, the article discusses hauntological perspectives on performance, both deconstructing and reaffirming authority. The paper comments on the relation between text and performance (Brook, Lehmann), memory and repetition (Carlson), disappearance and perpetual present (Phelan), as well as archive and repertoire (Taylor) in order to highlight the contradictory yet productive ways of understanding performance. The final part of the article, focusing on the significance of the ghost figure, examines experimental appropriations of Shakespeare’s play in Walny Theatre’s Hamlet (2015) in the light of postdramatic aesthetics.

8

“… the ruins of Europe in back of me.” Jan Klata’s Shakespeare and the European condition

75%

Cieślak M.

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nr 4

67-77

EN

Jan Klata’s Shakespearean productions are famous for his liberal attitude to the text, innovative sets and locations, and a strong contemporary context. His 2004 H., a Teatr Wybrzeże production performed in the Gdańsk Shipyard, reaches to the Polish history of the eighties (the importance of Solidarity and the fall of communism) to comment on the state of the democratic Poland twenty years later. The 2012 Titus Andronicus, a coproduction of Teatr Polski in Wrocław and Staatsschauspiel Dresden, explores the impact of historical traumas on national prejudice and relations within the new Europe. The 2013 Hamlet with Schauspielhaus Bochum again tries to diagnose the contemporary condition and is again deeply rooted in a specific geopolitical context. Discussing both Titus Andronicus and Hamlet, I would like to explore Klata’s formula of working with Shakespeare. Primarily, he takes advantage of the fact that Shakespeare’s texts are not simply source texts but hypertexts with multiple layers of meanings accumulated over the centuries of circulation, production and adaptation. Perhaps similarly to Heiner Müller, whose plays he willingly incorporates in his productions, Klata anatomizes the plays and then radically reconstructs them using other texts, literary and paraliterary. What Klata eventually puts on stage is a hybrid that is rooted in the Shakespearean hypertexts but also heavily draws from historical, cultural and political contexts, and that is relevant to him as the director and to the particular specificities of the venues, theatres and companies he works with. The hybridized and contextualized Shakespeare becomes for Klata a way to comment on current issues that he sees as vital, like dealing with the burden of the past, confronting the reality of the present, or understanding and expressing national identity, problems that are at once universal and specific for a person living in the EU in the twenty first century.

9

The Political Hamlet According to Jan Kott and Jerzy Grotowski

63%

Świątkowska W.

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nr 32

61-68

EN

The article presents political interpretations of Hamlet in Poland in the turbulent period of politcal changes between the mid-1950s and mid-1960s. The author discusses the relationships between Shakespeare’s tragedy and Polish political context as well as the influence of audience expectations in the specific interpretations. The selected performances are: Hamlet by Roman Zawistowski (at the Old Theatre in Cracow 1956) and Hamlet Study by Jerzy Grotowski (at the Laboratory Theatre of 13 Rows in Opole 1964). They both were hugely influenced by major commentators of Hamlet, i.e. Stanisław Wyspiański and Jan Kott. The author argues that up-to-date readings of Hamlet, which started with Wyspiański’s study in 1905, flourished in the mid-1950s and mid-1960s when concerning specific political events: the Polish Thaw of 1956 and March 1968, when the Jews were expelled from Poland. Thus Hamlet of that time was updated and must be seen through the prism of political events.

10

Visualising process : Hofman's 1926 Hamlet reconstructive practice

63%

Fergusson C.

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nr 2

15-28

EN

This article explores the extant artefacts of Vlastislav Hofman's design process for Karel Hillar's 1926 production of Hamlet. Virtual reconstructive practice has been used to explore Hofman's intentions and process in the development of his visual ideas. This exploration, supported by an analysis of Hofman's critical texts, provides insights into Hofman's developing visual ideas, both in respect of this production and in respect of his wider approach and attitudes to stage space, which might be broadly termed 'Cubist' or 'Expressionist'. A comparison of two distinct scenic styles in this production suggests that Hofman was developing a functional (or in Bourriard's terms, relational) approach to aesthetics which acknowledged the productive role of the audience and invited modes of viewing in which the choice of aesthetic constituted an invitation to dialogue. In this way, we see Hofman developing a scenography that not only 'means' but also invites a discussion of that meaning.

11

Warszawski «Hamlet» 1871: dylematy historiograficzne

62%

Waszkiel H.

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nr 4

131-157

EN

This article discusses the performance of Hamlet that premiered at Teatr Wielki [Grand Theater] in Warsaw on 24th March 1871. Produced as part of the celebrations of Helena Modrzejewska’s achievement, it is regarded as an important chapter in the history of Warsaw theater in the second half of the 19th century. The author separates historical documents dating from the period in question from later interpretations in order to complicate and problematize the image of this legendary staging created by Józef Szczublewski in the 1960s. Research using archive materials enables a discussion of the instability of facts, the mechanism of creating theater legends, and the dilemmas concerning the description and evaluation of historical phenomena. An important part of the historiographic analysis undertaken in the article is also to problematize the tension between a literature-oriented and theater-oriented approach to studying theater history. (Trans. Z. Ziemann)

PL

Artykuł dotyczy premiery Hamleta zrealizowanej w Teatrze Wielkim w Warszawie 24 marca 1871 na benefis Heleny Modrzejewskiej, przedstawienia uważanego za ważny rozdział historii teatru warszawskiego w drugiej połowie XIX wieku. Podjęto próbę oddzielenia dokumentów z epoki od późniejszych interpretacji, by skomplikować i sproblematyzować obraz tej legendarnej inscenizacji nakreślony przez Józefa Szczublewskiego w latach sześćdziesiątych XX wieku. Praca nad materiałami otworzyła możliwość dyskusji o migotliwości faktów, mechanizmie powstawania legend teatralnych oraz dylematach związanych z opisem i oceną historycznych zjawisk teatralnych. Istotnym wątkiem podjętej w artykule analizy historiograficznej jest również próba problematyzacji napięcia między literaturocentrycznym i teatrocentrycznym nastawieniem do badań teatralnych.