(没有什么)比得上丹麦人

IF 0.3 3区 文学 0 LITERARY THEORY & CRITICISM Critical Survey Pub Date : 2023-12-01 DOI:10.3167/cs.2023.350406
Kiki Lindell Tersmeden
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引用次数: 0

摘要

本文简要介绍了《哈姆雷特》在埃尔西诺城堡两百年的演出历史;接下来是对埃尔西诺的九个英语版或英语版《哈姆雷特》中所描绘的格特鲁德的讨论,从1937年的《奥利维尔和老维克》开始,到85年后的2022年开普敦剧院公司结束。本文讨论了格特鲁德(通过这些特定的哈姆雷特作品的棱镜看到)如何在舞台上被描绘的不同方面,提请注意这样一个事实,特别是在由明星演员担任标题角色的作品中,格特鲁德经常被导演忽视、忽视或边缘化,或者为了观众的利益而被物化和性化:变老、变迟钝或以其他方式被商品化。
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(There Is) Nothing Like a Dane
This article gives a brief account of the two-hundred-year-old performance history of Hamlet at Elsinore Castle; this is followed by a discussion of Gertrude as portrayed in nine English or English-speaking Hamlets at Elsinore, beginning with Olivier and the Old Vic in 1937 and concluding with Cape Town Theatre Company eighty-five years later, in 2022. The article discusses different aspects of how Gertrude (as seen through the prism of these particular Hamlet productions) has been portrayed on stage, drawing attention to the fact that, particularly in productions with a star actor in the title role, Gertrude has often been neglected, ignored or marginalised by the director, or else objectified and sexualised for the benefit of the audience: aged down, dumbed down or otherwise commodified.
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来源期刊
Critical Survey
Critical Survey LITERARY THEORY & CRITICISM-
CiteScore
0.20
自引率
0.00%
发文量
40
期刊最新文献
(There Is) Nothing Like a Dane Alienating Hamlet Västanå Teater's 1996 Hamlet Elli Tompuri's Female Hamlet, 1913 ‘|Y]oung Hamlet’
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