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The production of Hamletmachine was described as "a stage teeming with images" and "an electrifying message from East Germany" by Nicholas De Jongh in The Guardian. In 1992, the play was presented by the University of California, Irvine, directed by Keith Fowler , as a bloody fantasy set in a "Frankenstein laboratory," in which industrial meat ...
The Hamlet character was portrayed at different stages in his life by three separate performers: the actors Kurt Müller and Rudolf Kowalski as Hamlet I and Hamlet II, and the baritone Johannes M. Kösters as Hamlet III. [3] A live recording of the opera's premiere was released on CD in 1995 (Wergo #6195) [4] [5]
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Opheliamachine is a postmodernist drama by the Polish-born American playwright and dramaturg, Magda Romanska.Written in the span of ten years, from 2002 to 2012, the play is a response to and polemic with the German playwright Heiner Mueller's Hamletmachine (in German, Die Hamletmaschine).
[265] Commenting on "the character of Hamlet", he in effect joins a discussion among his contemporaries, adding to the mix of similar assessments by Goethe, [266] Schlegel, [267] and Coleridge [268] his observation that Hamlet "is not a character marked by strength of will or even of passion, but by refinement of thought and sentiment." [80]
This parameter populates Category:Fictional character articles needing images. fiction – set |fiction=yes if the article needs rewriting to maintain an out of universe approach per Wikipedia:Manual of Style (writing about fiction). This parameter populates Category:Fictional character articles that need to differentiate between fact and fiction.
Ophelia (/ oʊ ˈ f iː l i ə /) is a character in William Shakespeare's drama Hamlet (1599–1601). She is a young noblewoman of Denmark, the daughter of Polonius, sister of Laertes and potential wife of Prince Hamlet. Due to Hamlet's actions, Ophelia ultimately enters into a state of madness that leads to her drowning.
The physical image of Hamlet stabbing to death an unarmed man at prayer, from behind, would have been shocking to any theater audience. Similarly, the question of "delay" must be seen in the context of a stage play—Hamlet's "delay" between learning of the murder and avenging it would be about three hours at most—hardly a delay at all.