{"title":"韦斯塔诺剧院 1996 年演出的《哈姆雷特","authors":"Anna Swärdh","doi":"10.3167/cs.2023.350403","DOIUrl":null,"url":null,"abstract":"\nHamlet opens on a question – ‘Who's there?’ – asked by a sentinel of Elsinore Castle. In the Swedish regional theatre company Västanå Teater's 1996 adaptation of the play, the question kept returning, and it became symbolic of the production's focus on the uncertain and seemingly mysterious movements of political power. This article explores how changes to plot and text worked together with various forms of stylisation to present a society in which strict hierarchies of class, age and gender operated in tenson with Machiavellian corruption and theatrical seeming. Borrowing localised aesthetic expressions from several traditions and cultures (Norwegian/Nordic, Icelandic, East-Asian, Italian/European), the production adapted Hamlet to speak to local concerns, while simultaneously highlighting themes and issues present in the play.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Västanå Teater's 1996 Hamlet\",\"authors\":\"Anna Swärdh\",\"doi\":\"10.3167/cs.2023.350403\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\nHamlet opens on a question – ‘Who's there?’ – asked by a sentinel of Elsinore Castle. In the Swedish regional theatre company Västanå Teater's 1996 adaptation of the play, the question kept returning, and it became symbolic of the production's focus on the uncertain and seemingly mysterious movements of political power. This article explores how changes to plot and text worked together with various forms of stylisation to present a society in which strict hierarchies of class, age and gender operated in tenson with Machiavellian corruption and theatrical seeming. Borrowing localised aesthetic expressions from several traditions and cultures (Norwegian/Nordic, Icelandic, East-Asian, Italian/European), the production adapted Hamlet to speak to local concerns, while simultaneously highlighting themes and issues present in the play.\",\"PeriodicalId\":56154,\"journal\":{\"name\":\"Critical Survey\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Critical Survey\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3167/cs.2023.350403\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERARY THEORY & CRITICISM\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Survey","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3167/cs.2023.350403","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
引用次数: 0
摘要
哈姆雷特以一个问题开场——“谁在那儿?”——埃尔西诺城堡的一个哨兵问。在瑞典地区剧院公司Västanå Teater 1996年对该剧的改编中,这个问题不断出现,并成为该作品关注政治权力不确定且看似神秘的运动的象征。本文探讨了情节和文本的变化如何与各种形式的风格化一起呈现一个社会,在这个社会中,阶级、年龄和性别的严格等级制度与马基雅维利式的腐败和戏剧般的表象相互作用。从几个传统和文化(挪威/北欧、冰岛、东亚、意大利/欧洲)中借鉴了本土化的美学表达,改编了《哈姆雷特》,以表达当地的关切,同时突出了剧中的主题和问题。
Hamlet opens on a question – ‘Who's there?’ – asked by a sentinel of Elsinore Castle. In the Swedish regional theatre company Västanå Teater's 1996 adaptation of the play, the question kept returning, and it became symbolic of the production's focus on the uncertain and seemingly mysterious movements of political power. This article explores how changes to plot and text worked together with various forms of stylisation to present a society in which strict hierarchies of class, age and gender operated in tenson with Machiavellian corruption and theatrical seeming. Borrowing localised aesthetic expressions from several traditions and cultures (Norwegian/Nordic, Icelandic, East-Asian, Italian/European), the production adapted Hamlet to speak to local concerns, while simultaneously highlighting themes and issues present in the play.