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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]
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).
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
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To Be or Not to Be offers the reader the option to play as one of three characters: Hamlet, Ophelia, or Hamlet Sr., King of Denmark.From there the story branches frequently, with some options following the course of the original play and others providing the choice to give up on the quest to kill King Claudius, or to follow other pursuits (Ophelia, for example, is a keen scientist who can ...
Asimov's Guide to Shakespeare, vols I and II (1970), ISBN 978-0-517-26825-4. Gramercy Books. Nearly 800 pages long plus an index, the work was originally published in two volumes; Greek, Roman and Italian in the first and 'The English Plays' in the second. Asimov dedicated the work to his late father, Judah Asimov.
Rosencrantz and Guildenstern Are Undead is a 2009 American independent film written and directed by Jordan Galland. [1] The film's title refers to a fictitious play-within-the-movie, which is a comic reinterpretation of Shakespeare’s Hamlet and its aftermath and whose title is a reference to the play Rosencrantz and Guildenstern Are Dead.