The Masks of Hamlet

前表紙
University of Delaware Press, 1992 - 971 ページ
Hamlet's challenge: "You would pluck out the heart of my mystery - "
Yes, we would. If we could. We can but try; and the best way to begin, this book suggests, is to share what distinguished actors, scholars, and critics have gleaned; and thus enriched by their experience forage in the text and come to know the play personally, intimately.
Again and again Mr. Rosenberg will insist that only the individual reader or actor can determine Shakespeare's design of Hamlet's character - and of the play. More, the reader, to interpret Hamlet's words and actions at the many crises, needs to double in the role of actor, imagining the character from the inside as well as observing it from the outside. So every reader is deputed by the author to be an actor-reader, invited to participate within Hamlet's mystery. The critical moments are examined, the options and ambiguities discussed, and the decisions left to individual judgment and intuition.
The mysteries of other major characters are similarly approached. What terrible sin haunts Gertrude, that she never confesses? What agonies hide behind Claudius' smile? Does Ophelia truly love Hamlet? Does she choose madness? What are Polonius' masked motives, as in using his daughter for bait for Hamlet? With how much effort must Laertes repress the conscience that finally torments him? Only the actor-reader can know.
And the mystery of the play itself: by what magic did Shakespeare interweave poetic language, character, and stage action to create a drama that for centuries has absorbed the attention and admiration of readers and theatre audiences on every continent in the world? The reader-actor will find out.
To prepare the actor-reader for insights, Mr. Rosenberg draws on major interpretations of the play worldwide, in theatre and in criticism, wherever possible from the first known performances to the present day. He discusses evidences of Hamlet's experience in Armenia, Austria, Belgium, Bulgaria, Canada, China, Czechoslovakia, Denmark, Estonia, Finland, France, Germany, Greece, Holland, Hungary, India, Ireland, Israel, Italy, Japan, Korea, Norway, Poland, Romania, Russia, South Africa, South America, Sweden, Turkey, the United Kingdom, the United States, and Yugoslavia.
Theatres from a number of these countries provided the author with videotapes of their Hamlet performances; his study of these, and of films and recordings, and of a number of modern stagings in America and abroad, deepened his sense of the play, as did interviews with actors and directors, and insights sent to him by colleagues and friends from throughout the world. Mr. Rosenberg followed one Hamlet production through rehearsals to performance, for personal experience of the staging of the play he discusses, as he did in his earlier books, The Masks of Othello, The Masks of King Lear, and The Masks of Macbeth . And as with the latter two studies, he came upon further illuminations of Shakespeare's art by exposing Hamlet to "naive" spectators who had never read or seen the play.
 

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目次

Prologue
ix
Documentation and Acknowledgements
xvii
Act I Scene i Part 1
1
Horatio
12
Ghost
18
Act I Scene i Part 2
25
Act I Scene ii Part 1
36
Generalization Ahead
45
Act III Scene i Part 2
461
Act III Scene i Part 3
471
Act III Scene i Part 4
482
Act III Scene i Part 5
495
Act III Scene i Part 6
506
Act III Scene ii Part 1
546
Act III Scene ii Part 2
551
Act III Scene ii Part 3
558

Claudius
47
Gertrude
70
Act I Scene ii Part 2
82
Hamlet Part 1
92
Hamlet Part 2
118
Hamlet Part 3
155
Hamlet Part 4
167
Act I Scene ii Part 3
186
Act I Scene ii Part 4
204
Act I Scene ii Part 5
221
Ophelia
236
Laertes
253
Polonius
257
Act I Scene iii
265
Act I Scene iv
281
Act I Scene v Part 1
310
Act I Scene v Part 2
328
Act I Scene v Part 3
338
Act II Scene i
355
Act II Scene ii Part 1
366
Act II Scene ii Part 2
373
Act II Scene ii Part 3
384
Act II Scene ii Part 4
401
Act II Scene ii Part 5
413
Act II Scene ii Part 6
436
Act III Scene i Part 1
453
Act III Scene ii Part 4
570
Act III Scene ii Part 5
575
Act III Scene ii Part 6
592
Act III Scene iii
620
Act III Scene iv Part 1
639
Act III Scene iv Part 2
671
Act III Scene iv Part 3
684
Act IV Scene i
720
Act IV Scene ii
727
Act IV Scene iii
730
Act IV Scene iv
743
Act IV Scene v Part 1
755
Act IV Scene v Part 2
774
Act IV Scene v Part 3
787
Act IV Scene v Part 4
795
Act IV Scene vi
808
Act IV Scene vii
810
Act V Scene i Part 1
823
Act V Scene i Part 2
843
Act V Scene ii Part 1
857
Act V Scene ii Part 2
873
Act V Scene ii Part 3
903
Act V Scene ii Part 4
909
Bibliography
925
Index
953
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