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20세기 영국의 『햄릿』 공연
Twentieth-Century Performances of Hamlet in England
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국셰익스피어학회 Shakespeare Review Shakespeare Review Vol.38 No.1 KCI Accredited Journals
- 발행연도
- 2002.3
- 수록면
- 157 - 180 (24page)
이용수
20세기 영국의 『햄릿』 공연
초록· 키워드
오류제보하기
Hamlet is so complex a play as to cause a wide variety of interpretations and performances worldwide-and especially more so in the twentieth-century England. Dividing the 20th-century England into three generations, this study analyzes each generation's representative production of Hamlet-John Gielgud's in the 1930s, David Warner's in the 1960s, and Kenneth Branagh's in the 1990s-to point out its merits and demerits. By highlighting the merits and drawing solutions for the demerits from still other various productions of Hamlet in the 20th-century England, this paper makes the following suggestions for improving the future performances of the play.
In making speeches, John Gielgud's poetic rendition of verse speeches should be combined with Laurence Olivier's natural ways of speaking both prose and verse. In acting, Gielgud's romantic prince of refined sensibilities should show the physical vitality of Olivier's realistic Hamlet as well. Likewise, it would make a better Hamlet to combine David Warner's immature prince and Ben Kingsley's competent prince. Ideally, Hamlet should be acted as a complex man who shows many different aspects of character-noble, brave, clever, witty, melancholic, passionate, tender, cruel, unstable, and even selfish-like Kenneth Branagh's Hamlet. In selecting and preparing the text, using a full text as in Branagh's Hamlet is desirable since it can show everything Shakespeare had in mind when writing the play. But when some unnecessarily long passages hinder the flow or pace of the action and the running time needs to be shortened, it would be much better to either reduce or entirely cut them. And the stage design should neither dominate nor encumber acting; if it does as in Branagh's Hamlet, it would be better to play on an empty stage with no scenery at all as in Ben Kingsley's Hamlet. Stage design should be used moderately and in harmony with acting and the text. In sum, each area of production-speeches, acting, text, stage design-should be used in harmony with the others to help each other.
In making speeches, John Gielgud's poetic rendition of verse speeches should be combined with Laurence Olivier's natural ways of speaking both prose and verse. In acting, Gielgud's romantic prince of refined sensibilities should show the physical vitality of Olivier's realistic Hamlet as well. Likewise, it would make a better Hamlet to combine David Warner's immature prince and Ben Kingsley's competent prince. Ideally, Hamlet should be acted as a complex man who shows many different aspects of character-noble, brave, clever, witty, melancholic, passionate, tender, cruel, unstable, and even selfish-like Kenneth Branagh's Hamlet. In selecting and preparing the text, using a full text as in Branagh's Hamlet is desirable since it can show everything Shakespeare had in mind when writing the play. But when some unnecessarily long passages hinder the flow or pace of the action and the running time needs to be shortened, it would be much better to either reduce or entirely cut them. And the stage design should neither dominate nor encumber acting; if it does as in Branagh's Hamlet, it would be better to play on an empty stage with no scenery at all as in Ben Kingsley's Hamlet. Stage design should be used moderately and in harmony with acting and the text. In sum, each area of production-speeches, acting, text, stage design-should be used in harmony with the others to help each other.
목차
Ⅰ. 서론
Ⅱ. 1930년대 : 존 길구드의 『햄릿』
Ⅲ. 1960년대 : 데이빗 워너의 『햄릿』
Ⅳ. 1990년대 : 케네스 브래너의 『햄릿』
Ⅴ. 결론
인용문헌
Abstract
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