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자료유형
학술저널
저자정보
김보민 (서울대학교)
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한국셰익스피어학회 Shakespeare Review Shakespeare Review Vol.61 No.1
발행연도
2025.2
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9 - 33 (25page)

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This article examines the linguistic premise of Teresa Rebeck’s 2018 play Bernhardt/Hamlet, a historical fiction centered on the legendary French actress Sarah Bernhardt as she struggles to stage her own interpretation of Hamlet with herself in the title role. In the play, characters speak standard English and recite Shakespeare’s original language, yet they are meant to be understood as conversing in French and performing a French verse translation of Hamlet. I argue that this linguistic setup is problematic in that the play portrays Bernhardt’s landmark achievement as dependent on her rejection of the received language of Hamlet on the French stage, which historically was French verse translation but in Rebeck’s play is replaced by none other than Shakespeare’s own original verse. While this choice is dramaturgically expedient, it pushes the audience’s “willing suspension of disbelief” to its limits, potentially undermining the play’s status as historical fiction. However, this tension also potentially opens up a reflection about translating Shakespeare into accessible modern English. Beyond the play’s much-discussed portrayal of gender-bending casting in Shakespeare, I contend that its linguistic design warrants closer critical attention for how we understand Rebeck’s creative reinterpretation of Bernhardt’s legacy in light of the contemporary concerns regarding English Shakespeare productions.

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