Hamlet: Crazy. Cold. Calculated.

This is unrelated, but I figured out why that poll >>> wasn't working. You have to be a "follower" for it work. There's a button to for that somewhere on the right bar.

Anyway.

Out of some deliciously convenient coincidence, my theater professor, George Nelson, was using the extended use of Hamlet as an example in our lecture last night. And one thing he said finally pushed me off the fence, and answered (for me) the play's biggest question: Is Hamlet crazy, or just acting?

He's just freaking brilliant, that's all.
 
Here's his argument:

Claudius has just killed Hamlet's father for the crown.
Claudius marries Gertrude and will probably not hurt her becuase she's part of the "prize"
Hamlet is next in line to the throne.
Hamlet is, therefore, next in line to be murdered in the pursuit of the crown.
So, why doesn't Claudius just knock his head off to begin with?

David Tennant as Hamlet and Patrick Stuart as Claudius.

Because he thinks Hamlet's off his rocker, thats why. He doesn't appear to be a threat. And Hamlet is very careful in keeping it that way, so as to keep up this non-threatening facade, and therefore, to survive.

And it fits within the context of his character. Hamlet is not exactly a simpleton. He's been heir to the throne since he was born, and has probably the best education money can buy. And no doubt he's always understood the reality that others would try to take his life in pursuit of his title. Even before he knew Claudius' guilt, he was very subdued and tried not to draw attention to himself. But at the same time, his responses, though sometimes seeming a little whacky, are always so loaded with meaning. Where is Polius? At Supper. "Not where he eats, but where he is eaten." That just sounds like your talking to an English major, not someone fresh out of the looney bin.

His main argument for this was that someone who is completely crazy wouldn't have had the sense to put together the whole scheme of the play. I mean, come on. How would a mad man think to guilt the King into confession through re-enacting the murder? That's not crazy, he said, it's cold and calculated.

Kenneth Branagh as Hamlet and Kate Winslet as Ophelia 

Another instance people sometimes say that proves Hamlet's insanity is the whole argument with Ophelia telling her to "get thee to a nunnery" . . . I know a lot of us didn't understand why out of the blue he was casting out the woman he supposedly loved. But Professor Nelson pointed out something interesting: wouldn't association with Hamlet put Ophelia in immediate danger? Especially if Claudius already thought he was mad, he might think whacking Ophelia would snap Hamlet's fragile little psyche, and then possibly save Claudius the trouble of killing Hamlet himself. (Plus, I seriously doubt Hamlet didn't realize they were being watched. He didn't want them knowing he was in love with her, and he didn't want her to get mixed up in all this bloody business).


I never thought about any of this that way. . . but now that I have it's just like. . . well, duh!

Cedar City. . . A Theater Junkie's Best Friend

Last Saturday's trip to see The Winter's Tale in Cedar City was awesome! (forgive my enthusiasm. . .for me, getting to watch productions like these is like a druggie getting their fix). I was thrilled to see some of my favorite actors I've seen in previous shows back on the stage, including Brian Vaugn (Leontes, also the director), David Ivers (Autolycus), Melinda Pfundstein (Hermoine), and Quinn Mattfeld (Clown). This gave me an interesting  perspective of their characters from seeing them in different productions in the past.

Quinn Mattfeld (left) as Antipholus of Syracuse 2009 production of
The Comedy of Errors

Kate Cook (left) as Miss Elizabeth Bennet and Brian Vaughn
as Mr. Collins in Pride and Prejudice, 2010.

Tony Carter (left) and Jennifer Whipple as Featured
 Performers in The Greenshow, 2010. [she was Perdita]

Brian Vaughn as Richard Hannay and David Ivers as the  Innkeepers Wife in Alfred Hitchcock's The 39 Steps, 2010

Brian Vaughn as Richard Hannay and David Ivers as the

 Innkeepers Wife in Alfred Hitchcock's The 39 Steps, 2010

David Ivers as Benedick in Much Ado about Nothing, 2010

Melinda Parrett (left) as Rosalind and Quinn Mattfeld as Orlando
 in the 2009 production of As You Like It. [by the way, Melinda was one of
Hermoines ladies in waiting]

I also found something else interesting. . .Brian Vaugn, director and also Leontes, is actually married to Melinda Pfundstein, who played Hermoine. (Why she never changed her last name, I don't know. Her choice I guess). Knowing this, I felt something deeper between them as I watched the performance. I guess it made all of the outrageous behavior of Leontes I felt while just reading it feel more grounded, especially when Polixenes was feeling Hermoine's "pregnant belly" and listening for the baby to kick. Leontes looked positively broken. Also, something I didn't necessarily pick up on while reading until I looked back, Vaughn seemed to portray from the very beginning with his solumn, defeated manner that he already suspected this way before the opening of the play; and, perhaps, that him telling her to convince Polixenes to stay was his way of trying to confirm it. It was a very bold casting choice on his part, but I think it worked.

Another element I want to discuss was the set. . . I mean. . . WOW! The moment I walked in, I was absolutely mesmerized by it. From the perspective of a theater techie and designer, I give it top marks. Simple, effective, and versatile, and just so stinking beautiful! The bald, skinny tree trunks in the back giving it depth and dimension, and reflecting of the  austerity of winter. . . the deteorating, frosted panels. . . and then, when combined with the lighting effects - the harsh downlight making it feel cold and sterile, the purple textured wash making it mysterious and visually rich - just. . . awesome. Their designers never seem to dissapoint me.

I was trying the entire time to decide on what the designers concept behind the set was. (I think I made a comment about this on J.J.'s blog somewhere). I've always had it drilled into me that no design, be it set, lighting, costumes, or whatever, should ever go without a specific concept and symbolism behind it. It took a lot of thinking, but I think I finally came up with some possibilities. First and most obvious, the windows are obviously frosted to kind of look like they have snow drifts gathering on them, depicting that it is winter. And, as I said before, the kind of branchless, dead trees also give the feeling of the death that accompanies winter, and adds beautiful depth and dimension to an otherwise very small space (not to mention, they came in handy later for the wilderness scenes). The elegant chandeliers, classy black piano, and luxurious kind of rococo chairs portray their high class (royal, actually) status.

The really fascinating element though, the deterorating substance on the window panes. . .upon closer inspection, it almost looks like it was supposed to have a film of gold leafing on it that has chipped and peeled away to almost nothing. This seems to reflect the decay of something that was once grand and idealistic, such as Leontes' relationship with Hermoine. The Decay of Idealism and Granduer.

Mikell Pinkney (left) as Antigonus and Michael David Edwards
as the Storyteller (portraying the Bear) in the Utah
 Shakespeare Festival's 2004 production of The Winter's Tale

The other thing I should mention is the obvious disregard of traditional Elizabethan set and costume in favor of something more late 1800s-early1900s (it seemed very Edwardian to me). I heard some murmerings of distaste on the matter. . .but personally, I enjoyed it. In previous workshops I've listened to during trips to the Shakespearean Festival, I've heard many times from designers who have said that each time they approach a play they've done before (and they do have to repeat the same shows over and over), they try to approach it in a completely new way; something that's never been done before. They don't keep stock sets of costumes and props, but usually start entirely from scratch, pulling only occasion items from previous costumes. And it makes sense, how boring would it be if they did it the same way, over and over? It also makes perfect sense to me for them to have done this, because they weren't able to put this on in the traditional space for Shakespearean plays (The Adam's Theater, modeled after the Globe Theater in London). Of course this would be the perfect opportunity to mix things up, and I applaud him for it. And, if you still have any complaints, check out the bear from the last time they put on The Winter's Tale . . . as compared with the one that we saw. (Admit it. . . that bear was SO COOL!)

I found the specific era he chose interesting as well. The costumes depicted a time in history when women were finally standing up for themselves, trying to gain more rights and a better status in society through suffrage, as well as trying to end domestic voilence and abuse through prohibition. It makes sense to me, because Hermoine (and especially Paulina - you go girl!) took a stand against her mistreatment from Leontes and gave him what he had coming.

No, Seriously. . . What IS in a Name?

Give me a word. . . ANY word. . . and I will show you that the root of
that word. . . is GREEK!

I'll admit that when I name this blog, doing research on specific names and words was not what crossed my mind; it was more like . . .well, all the other good puns were taken. However, one thing I've noticed time again while reading these last two plays (Hamlet and The Winter's Tale) is that Shakespeare makes me look at words and their meanings in a whole new way. Unfortuneately, I was short a highlighter when some of the better examples came up, but I will look into some of the character's names as well as a few choice words from the last act, through looking up their Greek and Latin roots. (Learning briefly about them in high school seemed to help me to better guess meanings of words) So I found a couple of Greek/Latin root dictionaries online. It took all of 2 seconds. (Yay internet!).
http://www.macroevolution.net/root-word-dictionary.html and https://www.msu.edu/~defores1/gre/roots/gre_rts_afx2.htm if you're interested.
Keep in mind I think this website is mostly for scientific words so the results might be a little weird...and also, I'm just using the closest "roots" I can find.


Here are the names and words I researched:

• Leontes :
• 
• leio-  Smooth
• leon- Lion
• leo, leonis — Lion.
• Hermoine
• hemi- Half
• hem- or heme- or hemi- or hemo-  [from Greek aima blood] Denotes blood
• (Admit it. Half-blood. You're thinking about Harry Potter RIGHT NOW. Be real people. This Hermoine isn't actually a moodblood!).
• here - stick, (adhere)
• mania [from Latin mania mania, mental disorder] Mania, obsession (dipsomania).
• Florizel
• flora /FLORE-uh/ (1) the plant life, as opposed to animal life (fauna) of an era, geographic region, or biome
• -el or -ella or -elle  Little one, small (fontanelle).
• Mamillius
• mammal  A member of the vertebrate class Mammalia. Mammals nurse their young with milk.
• mille, milis — Thousand.
• Perdita
• per-Through, during
• dia — Through, by.
• dis — (1) Double, twice. (2) not
• Polixenes
• poli - city
• pel - drive, urge
• xenos — Stranger, foreigner.
• Autolycus
• auto- Self (autolysis).
• lykos — Wolf.
• lysis — Loosing, breaking up, parting, releasing.
• lacuna, lacunae — Hollow, pit, cavity, space.

So. . . not quite the huge insight I was hoping for; most of these make little or no sense (at least on the surface). . . probably because he didn't look at the greek and latin roots for every single character's name.
However, I found "self - auto" to be interesting, Autolycis being a selfish character.
Polixenes was indeed from a foreign city.
Was Leontes smooth? Maybe in a sarcastic sense (Did Shakespeare speak sarcasm?) On the other hand, it would possibly be more insightful to look up the symbolism of Lions in the Elizabethan era.
Hermoine, blood, and obsession.... somewhat make sense.
But as far as the rest of the names, they seem completely random to me.

Now let's look at some words from the last act:

• Preposterous
• Context: Clown: "Ay, ore else 'twere har luck, being in so preposterous estate as we are"
• Explanation in the book:"the clown seemed to intend prosperous but since the word preposterous brings together contraries [the before and after] it also signals an inversion by which the shepherds have become gentleman born."
• Dictionary Definition: outrageous or absurd; going very much against what is thought to be sensible or reasonable
• pre- In front of, anterior to
• post- After, behind
• ous  Abounding in, having, possessing

• Professor

• Context: Servant describing beauty of Perdita: "This is a creature, would she begin a sect, might quench the zeal of all professors else..."
• Explanation in the book: those who profess other faiths
• Dictionary Definition: (1) University teacher (2) somebody who professes a religious or other belief
• pro- Favoring, supporting, preceding
• ferous  Bearing, carrying, or producing the thing indicated by the root or prefix

Interesting. . .I am lead to conclude that Shakespeare had way too much time on his hands. I remember there being some more insightful examples, and I will post any that I stumble upon in the future.

We've Been Played!

Pardon the temporary irrelevence to our current reading. . . but I think you all might find this very interesting; It's a movie coming out this year about Shakespeare; and, from the looks of it, about a conspiracy saying he didn't write a single word. I think we're all pretty aware that he at least ripped off most of his plotlines. . . but, whether or not there's any truth to this movie, I am SO EXCITED to see it when it comes out! It looks intense!

It seems there is a lot of mystery and conspiracy surrounding Shakespeare.... here's a clip from St. Trinians 2: The Legend of Fritton's Treasure. Unfortunately it cut out one of the best parts of this scene, the character's discovery (they claimed that Shakespeare was the fictional Captain Fritton, ancestor to the protaganist [Annabelle] and a notorious pirate), but I think you'll find their "second" discovery just as interesting.

That's right, a woman wrote the Bible!!! Haha, what? 

*  *  *  *  * 

Anyway, back to the text. I know we've often discussed in class how Shakespeare always portrayed or kind of peddled very Christian values, even when writing about characters who worshipped pagan or other gods. That's why I found this passage rather interesting;

CLOWN: . . . Three-man songmen all, and very good ones; but they are most of them means [tenors] and basses, but one Puritain amongst them, and he sings psalms to hornpipes.

I looked to the reference at the bottom of the page in my text, which explained:

 

"Puritans... hornpipes except for one Puritan, who sings in the nasal, high-pitched whine of the hornpipe, or sings psalms the raucous [unpleasantly loud and harsh] music of hornpipes, (A rare Shakespearean sneer on Puritans)."

Rare Shakespearean sneer on Puritans? This leaves me with a lot of questions. . . What was Shakespeare's religion exactly, would it have been the Church of England? [Feel free to answer, I'm curious]. Historically that seems like what it would have been... if I'm not mistaken, which I very well could be. Either way though it seems like maybe he had a little bit of resentment towards the Puritans. Saying that it's a rare sneer though might mean he tried to be tolerant of them most of the time, if he did resent them.

Exit. . . Pursued by a Bear

Ok can I just say. . . now I'm really curious as to how they're going to portray the bear (and how they'e done it in the past). . . because I just see a silly, pretty non-threatening guy in a bear-mascot type costume running after Antigonus.
Anyway.
Going back to the discussion on Tuesday, I really wonder what Leontes (and his relationship with Polixenes) was like before the events of this story took place. Yes, they act like they're all buddy-buddy in the beginning but they're just as likely putting on airs. Were they the type of friends who were always trying to one-up eachother? Does Leontes have some kind of inferiority complex? In my mind, I can see how maybe Leontes was always jealous of Polixenes; perhaps he had trouble with the ladies that his Bohemian friend never seemed to run into. It would certainly make sense then, when years later. his wife is only having a conversation with Polixenes (which he ASKED her to do) and has a meltdown because he thinks she's cheating.
 Also, Leontes always struck me as your typical drama queen, someone who looks for conflict and maybe even bores without it. Being part of a theater troupe, I think Shakespeare probably saw his fair share of divas and might be trying to warn againts that kind of behavior (More power to him). His message to them, then, I would think is that being creating conflict out of nothing, and letting it get out of hand will only bring you more suffering in the end.

Hamlet. . . some recurring themes

I suppose, since were already nearly done with Hamlet, that I'll just breifly touch on some of the major recurring themes I've noticed thus far, most of which were discussed in class last week.
The first is dreams. . . Hamlet brings dreams up a lot, comparing it to death; good dreams to heaven, rest, and piece, and nightmares to hell and damnation. The most prevalant example of this, of course, is in his famous "To be or not to be" speech.
 " To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks that flesh is heir to; 'tis a consummation devoutly to be wish'd. To die, to sleep; perchance to dream. Ay, there's the rub; for in that sleep of death what dreams may come, when we have shuffled off this mortal coil, must give us pause- there's the respect that makes calamity of so long life. For who would bear the whips and scorns of time. . . .but that the dread of something after death. . .makes us rather bear those ills we have to than to fly to others that we know not of?"
This makes me think of the mindset he must have been in at this time, with his son passing away just prior to his writing this. . . clearly, death was a subject he put much thought into.

Kenneth Branagh as Hamlet  - You might recognize him as
Professor Lockhart from Harry Potter. He's one of my
favorite actors, and reminds me a lot of Brian Vaugn, an
actor who is in many productions each year at the Utah
Shakespearean Festival. . . maybe we'll get to see him
in the Winter's Tale!

The next is daggers entering the ear. . .obviously a reference to the particular way in which Hamlet Sr. was murdered. The most curious reference I think is when Hamlets mother brings it up as he's chastising her for being so hasty to marry his Uncle. . it almost makes me wonder if she had more to do with her father's death than is apparent (even if it was just encouraging him. . . something to ponder.)
Another is the idea of Fortune as a whore. I think this is just Hamlet showing more angst against his mother, who seems to have acted as Fortune because she seems to be making most of the decisions. . .and in his eyes, a whore for being so hasty to remarry. Harsh? Maybe. Understandable that he feels that way? Completely.
Finally, probably the most common theme discussed is whether or not Hamlet is acting most of the time, and when he is and isn't. . . honestly, I have a hard time coming up with an answer; I hang out with a lot of actors, and to be perfectly honest I can't even tell when THEY are being serious. . . so that still remains a mystery to me.

Why Shakespeare?

I suppose instead of jumping in to analysis and discussion on the Shakespearean play I'm currently reading (Hamlet), I should start with an introduction as to how I first came to love his work. My first experience was as early as my seventh grade honors English class, where we read "As You Like it". I knew the day would come where I'd have to take the plunge into his work, but had no idea it would be that early. . . the strange word choice, seemingly backwards-grammar, and all around unfamiliar writing style did, admittedly, escape my understanding most of the time. The point was, (and often, still is) that the characters and their story were all there, it was only a matter of learning the langauge.
Since then, I've read several other plays, including Macbeth, A Midsummer Nights Dream, & Romeo and Juliet. Since my first attempt at reading his work, my ability to understand and translate the language of his work has developed quite a bit. . . but I still enjoy watching the plays more than anything. It's true what they say; Shakespeare is meant to be performed and watched, not read. In my trips to the Utah Shakespearean Festival, I've been able to see performances ofMacbeth, A Comedy of Errors, Henry V, Much Ado about Nothing, As You Like it. I've also found film adaptations to be a great way to enjoy his works, and have seen many more of his works in this form.
My favorite experiences with Shakespeare's work, however, are those from my high school theater experience (not as an actor, but as a theater techie). Each year in September, we would have a Night of Shakespeare, and get to watch the students of the Advanced Theater class perform various scenes and monologues from his play.
One of my two favorite scenes was a monologue was from "As You Like it". . . it was by the character Rosalind, talking about the man she was in love with, but best of all, portrayed by a boy in drag. What a delight, hahah. Not to mention, it was interesting to see a woman portrayed as they would have in the times before women were allowed to perform onstage.
The other was a sort of summary of "Julius Ceasar" . . . or rather, JULIA Ceasar. The title role was given to an actress, but that's not what really made this scene stand out to me. The actors, all 20-30 of them, were dressed completely in white, with even a white stage (via a tarp); so when Julia was slain and her enemies came to dip their hands in blood, it really stood out. And boy, did they get blood everywhere, they would cup it and let it drip from their hands as they stood. . . so much so that the sound of it dripping on the tarps was exactly like that of rain drizzling on the rooftops. It was one of those amazing and powerful moments in theater that you never forget.