Spectacle is defined as “A specially prepared or arranged display of a more or less public nature (esp. one on a large scale), forming an impressive or interesting show or entertainment for those viewing it” (course website). Spectacle acts as the mechanism that fuels the enjoyment of the abundance of blockbusters and “popcorn flicks” at the movie theater during the summer. For many people, the embellishment of spectacle, with its explosions, futuristic sets, and computer-generated makeup is what they have come to expect when experiencing a modern drama, and if the movie does not deliver in this aspect, it is openly berated, mocked or tossed aside when discussed with others. Spectacle, most notably in the portrayal of death or injury, was not …show more content…
As evidenced by the popularity and profitability of Michael Bay’s Transformers franchise, which features the absence of any semblance of character growth and plot, spectacle can absolutely act as a substitute for poetry and art. However, as shown by the embracing of spectacle in Shakespeare’s Hamlet, which was written nearly two thousand years after the Greek tragedies of Aeschylus, Sophocles, and Euripides, spectacle can work simultaneously with poetry. Shakespeare intentionally plays with spectacle as a way of building anticipation and making the ending’s embracing of spectacle more impactful. The killing of King Hamlet, the bedroom, and final scenes of the play act as perfect examples of this. King Hamlet’s death, the catalyst of the play’s events, occurs before the play begins, and the manner in which it is “shown” is through the words of a ghost to young Hamlet. In the bedroom scene, the spectacle is relatively repressed when Hamlet stabs Polonius through a hanging tapestry. Although the audience knows a murder has just occurred, the actual act is concealed from view. The culmination of all the play’s events occurs in the final scene of the play, and Shakespeare eliminates all traces of the repression of spectacle through the killing of multiple characters. Even though the action of the scene occurs rapidly, the finality of the action is more impactful as a result of Shakespeare’s gradual freeing of the reins of spectacle throughout the
Hamlet makes extensive use of the idea of theatrical performance; from revealing characters to not be what they seem - as they act to be - to Hamlet’s play The Mousetrap and his instruction of acting to the players. The extensive use of the stage in the stage directions, as well as numerous monologues and asides, have Hamlet itself acting as a literary device for the motif of theatrical performance.
...s King Claudius is hiding behind the tapestry, and runs his sword through it and Polonius. If it had been the King, he would be dead. Instead, it’s Polonius who falls, and in his anger, Hamlet becomes callous with disregard for the man.
Of course, by his delaying his revenge, the entire plot of the play goes in a different direction. Immediately after this scene Hamlet speaks with his mother, unknowing of the fact that Polonius is hiding behind a curtain in the room with them. When the Queen becomes frightened by Hamlet's irate demeanor she cries out for help, as does Polonius. Hamlet mistakes Polonius for Claudius and stabs him to death.
The three main turning points of Hamlet all revolve around Hamlet seeking revenge for his father’s murder. The three scenes depict Hamlet’s growth of character from a hesitant philosopher to a rash man of action. In the players’ scene, Hamlet takes extra care in confirming the authenticity of the ghost’s story, while deeply debating the morality of killing Claudius. In the prayer scene, Hamlet remains indefinite in the decision of taking vengeance for his father, as he neglects his best opportunity to end Claudius’ life. Hamlet makes a drastic change of character in the closet scene when he kills who he thinks is Claudius without hesitation. This shows he is now ready to take action for his father. However, it is Polonius behind the curtain, and his death sets off a chain of unexpected events that alters the plot and characters of Hamlet.
Unsurprisingly, Branagh’s version of the scene in Gertrude’s closet contains many differences as well. Even in this scene so wrought with family peril, the focus of Branagh’s Hamlet remains on the theme of revenge. From the moment Hamlet arrives in Gertrude’s chamber there is a screaming match. Gertrude is indignant and insulted, rather than hurt and scared as in Doran’s portrayal. Even when Hamlet becomes more violent and physical with her, she still appears to be strong and a nearly even adversary. The killing of Polonius occurs in a similar fashion, except he is hidden behind a curtain rather than a mirror and Hamlet kills him with a dagger instead of a gun. This time period difference is vital in the playing out of this murder, because the “revenge” that takes place is much more personal with a dagger than with a gun. Hamlet is able to commit the murder from farther away with a gun, creating a less hands-on image of murder and revenge. During Hamlet’s line regarding revealing Gertrude’s innermost part, instead of simply referencing a mirror, the audience sees Hamlet try to forcefully undress her. Where in Doran’s film this disrobing was entirely figurative, Branagh takes it more literally in the scene’s staging. For most of the scene, Hamlet and Gertrude are leaning towards each other as if it is a heated argument, rather than Hamlet
The play within a play has been used for a long time in stories ; scholars have traced it’s use back to the Arabic, Persian and Indian storytelling traditions (Bonnie Irwin, 1995). It can also be identified in Homer’s Odyssey but the first time it was probably used for drama, was in Thomas Kyd’s Spanish Tragedy. By reusing this emerging literary organ, Shakespeare is sure of his success with the presentation of his work and demonstrates to what degree drama is powerful so as to make ones self see the truth in ones acts. It is with it that Hamlet manages to surface Claudius’ guilt and to be sure that the ghost’s truthfulness. Additionally, he uses all the conventions and themes of a revenge tragedy that where extremely popular in the Elizabethan and Jacobean era and present in The Spanish Tragedy. But Shakespeare moves well beyond the usual revenge tragedy form in this play. Hamlet became a play were the themes are complicates and the psychology of its models is deepened. This is done by Hamlet’s complex characterization were he is in conflict between the Roman values of blood-right and martial valor, and Christian values of humility a...
Polonius takes this opportunity to spy on Hamlet and informs Gertrude that he will hide behind a tapestry and eavesdrop on their conversation. During their conversation Hamlet forces his mother in front of a mirror as to literally reflect on herself and the betrayal she’s caused him to feel. He tells her that he wants to reveal the figurative inmost part of her, but she takes this literally and thinks that he means he is going to murder her. She cries out for help which causes Polonius to cry out as well. Hamlet, thinking that the voice of the man who had just cried out for help belonged to his uncle, stabs Polonius through the curtain and kills him. Gertrude laments the murder of Polonius calling it a bloody deed and Hamlet retorts, “A bloody deed! Almost as bad, good mother, As kill a king and marry with his brother” (Shakespeare 1862). In this scene, Hamlet reaps revenge on Gertrude by emotionally torturing her so she may feel the utmost guilt for betraying her son and husband. Then, Hamlet’s unremorseful character is revealed in his ability to murder Polonius when he thought it was Claudius he had heard behind the curtain. Hamlet then justifies his murdering Polonius by equating it to Gertrude’s sin of marrying the man, her brother in law, who killed her
Through the elements of technique portrayed in this essay, it is clear to see that Shakespeare is able to influence the reader through soliloquies, imagery, and dual understanding. This overall influence being both the communication of a deeper meaning, and a more complex understanding of the events and statements within Hamlet.
Seen from the early scenes of the play until Claudius’ last breath, Claudius’ only concern is gaining and maintaining power by any means necessary. His introduction into power begins with his own manipulative plot—that succeeds—to kill his brother, which the ghost tells Hamlet within the first act of the play (Shakespeare 59, 61). Claudius’ entrance into the position of king is centered around crime, murder, and manipulation, which in return is the basis of his reign. Further along into the play, readers notice that majority of the men portrayed in the play are concerned about justice or moral balance. However, the man in the position of absolute power is preoccupied with lust and schemes. As the play progresses, Claudius’ malfeasances become more apparent once Hamlet’s “insanity” reaches its peak and kills Polonius (171). More concerned with preserving his seat in the court, Claudius resorts to a plan
At least six or seven years pass after the writing of Midsummer Night’s Dream before we find Shakespeare engaged in Hamlet, the second of the great plays with an important Supernatural element, and, in the opinion of many, the greatest tragedy ever penned. (99) There is no more exalted ranking than the above. Richard A. Lanham in the essay “Superposed Plays” maintains that no other English tragedy has generated the literary comment which this play has produced: “Hamlet is one of the great tragedies. It has generated more comment than any other written document in English literature, one would guess, reverent, serious comment on it as a serious play” (91).
Shakespeare’s original play version of the bedroom scene was right after the play within a play. Hamlet would storm into his mother, Gertrude’s room and tell her how offensive it is that she moved on to Claudius so quickly after the King had just passed. This whole time Polonius is eavesdropping on the conversation behind the tapestry. The ghost king is also eavesdropping on the event (Shakespere, 72). The evesdropping of Polonius leads to his death, and his death leads to the whole royal family’s death. In the 2000 version of Hamlet, Michael Almereyda uses set design and blocking of the bedroom scene to highlight the dangers of eavesdropping on both a personal and public level.
How does a person’s appearance affect the way you perceive them? Appearance can hide a person’s personality and their intentions, and can often create conflict. Appearance versus reality is a common theme used in novels to create conflict and help to evolve the plot. 1984 by George Orwell and Hamlet by William Shakespeare have similarities and differences in the way appearance and reality is used. The original purpose of deceit in each novel appears different but have the same meaning. The way the theme of appearance versus reality is conveyed through different mediums such as double lives, actions, and organizations are similar. In the end, the theme of appearance and reality has different outcomes
Spectacle can be defined as “visually striking performance or display”. It is directly associated with the eyes, the act of viewing or looking at something. In regards to theatre spectacle serves as the middle man between the eyes and the senses of the individual spectator. The response to spectacle varies based on the spectator. The appeal of spectacle is conceived from its ability to captivate the audience and grab hold of the viewer’s gaze. This can be done with the presentation of violence, admiration, sorrow etc. It is able to produce unnatural tension. According to Aristotle, for a tragedy to reach its “finest form” it must arouse fear and pity. With the use of Euripides’s Medea I
Many would perceive madness and corruption to play the most influential role in Hamlet. However, it could be argued that the central theme in the tragedy is Shakespeare's presentation of actors and acting and the way it acts as a framework on which madness and corruption are built. Shakespeare manifests the theme of actors and acting in the disassembly of his characters, the façades that the individuals assume and the presentation of the `play within a play'. This intertwined pretence allows certain characters to manipulate the actions and thoughts of others. For this reason, it could be perceived that Shakespeare views the `Elsinorean' tragedy as one great puppet show, "I could see the puppets dallying".
In 350 B.C.E., a great philosopher wrote out what he thought was the definition of a tragedy. As translated by S.H. Butcher, Aristotle wrote; “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions. . . . Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Thought, Diction, Spectacle, Melody. (http://www.cnr.edu/home/bmcmanus/poetics.html)” Later in history, William Shakespeare wrote tragedies that epitomized Aristotle’s outline of a tragedy. Shakespeare’s Hamlet is one such tragedy.