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Hamletmachine (German: Die Hamletmaschine) is a postmodernist drama by German playwright and theatre director Heiner Müller, loosely based on Hamlet by William Shakespeare. It was written in 1977, and is related to a translation of Shakespeare's Hamlet that Müller undertook.
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]
What follows is an overview of the main characters in William Shakespeare's Hamlet, followed by a list and summary of the minor characters from the play. [1] Three different early versions of the play survive: known as the First Quarto ("Q1"), Second Quarto ("Q2"), and First Folio ("F1"), each has lines—and even scenes—missing in the others, and some character names vary.
Hamlet/Maschine: Hamlet/Machine (1989 / 1990) combination of translation of Shakespeare's Hamlet and Müller's own Die Hamletmaschine: Mommsen's Block Mommsen's Block (1992/1994) a "poem / performance text" Germania 3 Gespenster am toten Mann: Germania 3 Ghosts at Dead Man (1995/1996) produced posthumously
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).
The character Claudius is both the major antagonist of the piece and a complex individual. He is the villain of the piece, as he admits to himself: "O, my offence is rank it smells to heaven" (Act III, Scene 3, Line 40), yet his remarkable self-awareness and remorse complicates Claudius's villain status, much like Macbeth.
Prince Hamlet is the central character of Hamlet. He is a prince of Denmark, called on to avenge his father's (Old Hamlet's) murder by Claudius. Prince Henry appears towards the end of King John, as successor to the title character. Prince John of Lancaster , the younger brother of Hal in Henry IV, Part 1, Henry IV, Part 2, and Henry V.
[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]