Hamlet (Acts 1 - 3.2): I can't kill Claudius without proof, because it would surely damn me to kill an innocent man. also definitely can't kill him while he's praying.
Hamlet (Act 3 Scene 3): I Think I Will Stab Whoever Is Behind This Curtain
Ideas for my next staging of Hamlet, Polonius Edition
Every time he enters the scene, a sign lights up asking for applause, sitcom style. Only Polonius is aware of this fact and he seems embarrassed by it.
Everyone sincerely likes Polonius, and even Hamlet's messing with him is clearly more like a kid trying to play with their uncle. He is entirely unaware of this fact and deeply insecure.
King Hamlet and Claudius love to be cast as the same actor, but what about King Hamlet and Polonius? Something something kings change but institutions endure something something constant accusation in the face of the man closest to he whom you murdered?
Polonius is clearly talking the entire time, and those closest to the stage can hear he's actually continuing to pontificate on every topic at hand at all times. His microphone only switches on during his scripted lines. (Only for a large theater)
Total crack option: the architect of disaster. After the closet scene and the ensuing capture of Hamlet, Polonius steps out from where he was stashed and winks at the audience. Later, upon Ophelia's burial, the scene is cleared and Polonius comes and gets her from the grave. Maybe we end up getting Laertes in on this too, but tbh heck that guy. Interscene silent meeting between Polonius and Norway. We see an advisor who's dramatic ironically obviously Polonius handing the king the poison. Polonius is there to receive Fortinbras at the end, and instantly steps back into his role. Bonus points if this is all plainly because of his clear loyalty to King Hamlet.
Every scene, Polonius is messing with and moving behind curtains. Cats love a good box, Polonius loves a good arras. Before the curtain opens, even, he walks onto stage (possibly declaiming one line or another), looks out at the audience and realizes he's out too soon, and conceals himself behind the curtain, shoes clearly sticking out [bonus bonus points if costuming magic means that when the curtain opens, the shoes are still there, but it's Barnardo in them. OR, and this won't be easy to show visually, they're actually Gertie's shoes (with which she followed King Hamlet, like Niobe, all tears).
(Yeah, some of these only work if Polonius has been working with the royal house since before the succession. So what?)
Welcome to the 2024! I think itâs time to share the link to the good âol Hamlet Discord Server (which is really just a general Shakespeare server at this pointâŚ) for any new Shakespeare fans looking for somewhere to hang out!
We (sometimes) do readings, frequently chat about the plays (and relevant content), and are (slowlyyy) working on producing our own audiobook version of Hamlet!
Come join us and have a Shakespeare-filled 2024!
Check out the hamlet, prince of denmark community on Discord - hang out with 106 other members and enjoy free voice and text chat.
not sure whether you put tactile function in motor vehicles on the correct blog. if you did feel free to ignore this ask
no đ i see a hamlet post and go "ohoho i have a Blog for this!" and change the blog the post reblogs to. and then forget that by the time i reblog another post
Shakespeare: I will create two teenage characters who are explicitly proto-postmodern examinations of the nature of character and fate within fictional narrative. I am their creator and - like their parents within the narrative - I exercise complete control over their fates, no matter how much they struggle against it. They are born like Athena from my mind and doomed to die by my pen, by my complicity in the narrative negligence of them, by my own actions and wishes-
Actor: cool, what's their names?
Shakespeare, father of twins named Judith and Hamnet: uhhâŚ. Juliet and Hamlet.
#obsessed with the Juliet/Hamlet parallels #And how theyâre victims of narrative
#these plays are not Shakespeareâs therapy sessions nosiree #dealing with the grief of a childâs death by writing stories where teenagers die because of their parentsâ lack of careâŚ. heartbreaking ngl. #the guilt and anguish and horror is just leaking out of the page
I havenât been back on here in a while (posting, Iâve been lurking for a couple of months) but uhhhh I wrote a queer magical hamlet reimagining and itâs called SMILE AND BE A VILLAIN and itâs been pretty well reviewed so far?
It came out in April and people seem to be enjoying it. itâs set in the 1530s and I did a lot of research for it. itâs a prequel so you get to see wittenberg university!
mild spoilers below in terms of rep:
aroace ophelia
bisexual hamlet
queer jewish horatio
transmasc rosencrantz
gay Black guildenstern
gay fortinbras
ophelia has magic lesbian aunts
thereâs a bunch of other stuff too like exploring religion during the reformation and the place of women within society. I think itâs neat! itâs also sometimes funny and then the ending punches you in the face over and over again, if you like that kind of thing. and itâs got a sequel coming early next year!
so yeah if you want to support a queer indie authorâs debut that would be super great. you can go look at the reviews on goodreads/storygraph; I take a look every now and again to make sure I havenât been put on blast by homophobes, and reviews are super positive.
I absolutely love this book and it's lush religiopolitical and magical take on the world of Hamlet! full review below the cut but you guys should go get this book and read it if you like the sound of:
-a queer cast
-a morally grey magic system
-just a little bit of gore, as a treat
-QPR between ophelia and hamlet (implied cuz it's historical)
-well-researched historical contexts
-everything yves said above (especially QUEER JEWISH HORATIO PLZ)
SMILE AND BE A VILLAIN is a self-published historical fantasy that reimagines the story of Hamlet, starting with the young princeâs departure to Wittenberg prior to the plot of Shakespeareâs play and following both Hamlet and Ophelia. Featuring rich fantastical lore and a diverse cast, and informed by a historical landscape of violence, religion, and politics, SABAV serves as a stunning debut from Yves Donlon.
Especially for an indie title, the prose is fairly tight and has a beautiful flow. The imagery is vivid, the characterization is clear, and it has an original style and rhythm without taking away from legibility. The world building is really well-informed. The political climate of Hamlet isnât often heavily emphasized in adaptations or retellings, especially when it comes to complex religious dynamics, the treatment of marginalized communities, and (surprisingly) the trauma of war. So for Donlon to bring these factorsâand their impressions on the world and the charactersâto the forefront is wonderfully refreshing and adds a fascinating lens to a story I thought I already knew so well.
But the thing I really want to gush about here is the representation. Bisexual Hamlet, aspec Ophelia, trans Rosencrantz, Black Guildenstern, and even queer Jewish Horatio! (I absolutely did cry about queer Jewish Horatio.) I really appreciated not only the presence of these identities, but the way they shape the charactersâ choices and alliances. I especially appreciate the queer-platonic relationship between Hamlet and Ophelia. The way this story utilizes the constraints and expectations of their genders in this society as a complication on their dynamic (for better or for worse) is so clever.
One of my favorite elements of the original story of Hamlet is its ambiguous perspective, and I felt like this is well represented in the use of magic in this world. Throughout the story, weâas the audienceâwitness charactersâ different opinions on and relationships to magic and are left unsure what to believe in a way that is really intriguing. Iâm really curious whether this intentional ambiguity will continue in book two or solidify into a clearer message.
I do think that the second half of this book is better than the first half, but mostly because that second halfâs structure is INCREDIBLE. Donlonâs crafting genius really shines in their ability to end this book and prepare us for the next. SMILE AND BE A VILLAIN starts with the beginnings of Hamletâs threads, and slowly but surely, they are pulled and strung this way and that, seemingly at random, until all of a sudden they snap into place. Suddenly, the stage is set, the actors are in the wings, and the curtain is rising.
I canât wait to see how all of these pieces fit together in the next installment. Based on the way they handled this first book, I have no doubt Donlon will provide a masterful narrative payoff of the themes and discussions theyâve set up for the sequel.
So if youâre wanting to read a Hamlet retelling centering a queer and diverse cast, political intrigue, a mysterious magic system, and lovely writing, I highly recommend SMILE AND BE A VILLAIN.
Thank you to the author for sending me a copy of this book in exchange for an honest review.
CW: war, violence, illness, death by illness, blood & gore, alcohol, homophobia, misogyny, emesis infidelity, antisemitism (mention), death of mother (past), death of sibling (past), slavery (mention)
My proposal for a terrible and inconvenient piece of dual theatre
Basically when the pieces interact, the curtains open and the two plays become one. This would be awful to time and would probably suck mad shit, however I think I should be allowed to try and make it anyway
A) Be a nightmare for stage manager trying to sync the transitions
B) Tech and effects would be crying pissing themselves trying to run two shows at once.
C) Adaptation. Rosencrantz and Guildenstern is about 2:30 hours and Hamlet in full is 4 hours but is usually abridged down to about 3. There are also lengthening and shortenings of scenes in Hamlet in R&G. Off-stage scenes need to be synced with on stage appearances.
Iâm also legally unsure of how this would work??? To get this produced youâd probably have to prioritize Stoppard text at the expense of Shakespeare
I also agree that this is terrible idea that must be done
I keep thinking about this post. Did you let me? As in did you not save me? and Did you let me? as in did you allow me the comfort of your embrace at the expense of your own pain, knowing tomorrow I would be back and fine but youâd still be feeling my blood against your skin?
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