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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2007.6
- 수록면
- 201 - 224 (24page)
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A German star actress, Asta Nielsen's film version, Hamlet: The Drama of Vengeance, directed by Svend Gade in 1920, endows the film with a radical change in nineteenth-century travesti tradition of female actors' playing the role of Hamlet: Nielsen's Hamlet is not merely a cross-dressed Hamlet but a woman dressed in men's clothes. The film's screen play author Erwin Gepard relied for the story more upon Edward P. Vining, an American amateur Shakespeare scholar, than upon Shakespeare. Vining, in his The Mystery of Hamlet: An Attempt to Solve an Old Problem(1881), tries to solve Hamlet's gender mystery and comes to a conclusion that he was, in fact, a woman who had been born a princess but brought up as a prince by Gertrude. Nielsen's Hamlet conceals her born identity and is not allowed to be who she is.
Hamlet's life is a life of gendered double: mannish woman and womanish man. Nielsen's gender-split Hamlet represents the modernist crisis in gender which refuses traditionally constructed gender hierarchy and then results in male anxiety. In Weimar background which observed the breakdown of old certainties, therefore, Hamlet was regarded as a threatening force against still male-dominated gender system. Hamlet's androgyny is more dangerous because it was forced upon her by her mother during the absence of her father. In this regard, Hamlet is supposed to carry out two-fold revenge: for Claudius who murdered her father, and for her monstrous mother who forced upon her the disguised gender identity. Stabbed by Laertes's poisoned sword, Hamlet dies on the steps leading to the throne, and her original gender is disclosed by Horatio who has been an object of female Hamlet's unfulfilled desire. Eventually their seemingly homoerotic relationship is safely restored to heterosexual normality.
Hamlet's final death has a couple of meanings. There might arise a question of how Hamlet can return to her female identity that she longed for, and the answer is that it is only possible in her death. The other meaning is to be found in Weimar male anxiety about her androgyny: her death is a punishment by men who seek to re-place the 'New Woman-in-man's clothing' onto her safe seat on which she is to remain 'silent' hereafter. Nielsen's Hamlet film willingly provides an interesting controversy on our time's concern with the idea of 'split subject' or 'becoming' gender.
Hamlet's life is a life of gendered double: mannish woman and womanish man. Nielsen's gender-split Hamlet represents the modernist crisis in gender which refuses traditionally constructed gender hierarchy and then results in male anxiety. In Weimar background which observed the breakdown of old certainties, therefore, Hamlet was regarded as a threatening force against still male-dominated gender system. Hamlet's androgyny is more dangerous because it was forced upon her by her mother during the absence of her father. In this regard, Hamlet is supposed to carry out two-fold revenge: for Claudius who murdered her father, and for her monstrous mother who forced upon her the disguised gender identity. Stabbed by Laertes's poisoned sword, Hamlet dies on the steps leading to the throne, and her original gender is disclosed by Horatio who has been an object of female Hamlet's unfulfilled desire. Eventually their seemingly homoerotic relationship is safely restored to heterosexual normality.
Hamlet's final death has a couple of meanings. There might arise a question of how Hamlet can return to her female identity that she longed for, and the answer is that it is only possible in her death. The other meaning is to be found in Weimar male anxiety about her androgyny: her death is a punishment by men who seek to re-place the 'New Woman-in-man's clothing' onto her safe seat on which she is to remain 'silent' hereafter. Nielsen's Hamlet film willingly provides an interesting controversy on our time's concern with the idea of 'split subject' or 'becoming' gender.
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