Hamlet Comparisons of Performances<\/p>\n
Author<\/p>\n
Institution<\/p>\n
Introduction<\/p>\n
British literature has been a fundamental pillar and component of the entire world of literature. It goes without saying that the British have contributed immensely to literature and given a fair share of literary giants. However, there are variations as to the popularity (and immortality) of the various works of literature by different people. Nevertheless, William Shakespeare comes as arguably the most popular literary giants in the history of British literature. He is credited with writing of numerous works and may inevitably be the most quoted and read playwright. Numerous works of William Shakespeare have been widely read and even redone, one of which is \u201cThe Hamlet\u201d (to be or not to be, soliloquy).<\/p>\n
Numerous interpretations have been offered for this speech in the Hamlet, each of which is historically or textually based. As much as the soliloquy questions how righteous life is over death in terms of moral, it mainly emphasizes on death. Nevertheless, numerous versions of the \u201cHamlet\u201d have been done, each incorporating various distinctive features that set it apart from others.<\/p>\n
In Kenneth Branagh\u2019s version of Hamlet, it is evident that the play is acted in an entirely modern background. The architecture is entirely modern and the version incorporates electricity, sweeping staircases, as well as a train on which Guildestern and Rosencrantz ride (Lyman, 2009). In addition, the costumes used in this version are extremely modern and ornate. The modernity that is incorporated in this version makes it less Shakespearean. Nevertheless, the version compensates on various other things. For example, Branagh\u2019s version is extremely long and incorporates lengthy pauses that make it a complete replica or copy of the initial version of the Hamlet.<\/p>\n
In Branagh\u2019s version of the Hamlet, King Hamlet wears a frightening suit of armor which makes Prince Hamlet visibly scared of him. The viewer would also recognize the fact that the sole motivation that prince hamlet has for revenge is the fear that he has for the ghost of his father. The key feature of Branagh\u2019s version of the Hamlet is that the Hamlet is giving the speech into a mirror, which is rather tantamount to feeding the whys and ifs to himself as though he is debating and countering the advantages with disadvantages. In addition, Banagh\u2019s version of Hamlet seems to incorporate too much outward energy and rage (Lyman, 2009). On quite a large number of instances in the soliloquy, he loses his calm and rages furiously while breaking things in a rage. This is a complete contrast from the Hamlet that readers are used to having in the original Shakespeare piece. In fact, it is worth noting that the Hamlet is always unable to take a decisive action, and his soliloquy is essentially the stupid ploy of an ineffectual and weak boy.<\/p>\n
Branagh\u2019s version of the hamlet is incredibly distinguished from Gibson\u2019s version, also known as the Franco Zeffirelli\u2019s version after its director, Franco Zeffirelli. The key difference relates to the setting of the \u201cto be or not to be soliloquy\u201d. The scene is acted on a burial tomb, which is a manifestation of immortality and death that Hamlet is contemplating (O’Connor, 2002). In addition, Gibson puts in an emotional speech compared to cerebral version of Banagh. This makes Gibson’s hamlet the most suitable version not only for demonstrating this part of \u201cto be or not to be\u201d, but the entire play, as well. In fact, he answers the question on whether he should be or not and chooses the former. In addition, the scenery and clothing in Gibson\u2019s version are more suited for the times of Shakespeare and come with a significantly traditional setting (O’Connor, 2002).<\/p>\n
The energy that is shown in Banagh\u2019s version of Hamlet is also incorporated in Tennant\u2019s version. The results of this aspect were not different from the case of Banagh. The excessive energy undercut the intelligence of hamlet and distracted the audience from the crucial things that he was uttering (Billington, 2008). Tennant\u2019s version incorporated lunatic energy. Unfortunately, the excess energy rendered Hamlet entirely unlikable. In fact, it would be difficult for the audience to care about the things that the Hamlet is undergoing (Billington, 2008).<\/p>\n
Another thing that sets Tennant\u2019s version apart from others is direction. In this version, the actors look directly at the camera almost throughout the entire time. This is undoubtedly extremely disconcerting. Of course, it is appreciated that certain soliloquies and asides in live theatre production may be directed at the film\u2019s audience. However, looking directly at the camera destroys all the suspension pertaining to disbelief, while pulling the audience to the actors themselves rather than play (Billington, 2008). In addition, the Hamlet wears relatively modern garments while electric scenes light up the opening ghost scenes. These are way off the mark as far as the original depiction of the play is concerned.<\/p>\n
While the three versions of the \u201cHamlet\u201d incorporate different strengths and weaknesses, I think Gibson\u2019s version offers a better presentation of Shakespeare\u2019s theme. It goes to incredible lengths to set the play in a burial tomb, thereby underlining the questions that Hamlet has or the decision that he has to make. This is complemented by the incorporation of considerably traditional clothing or costumes, unlike in the other two versions. As much as it runs for a considerably reduced time, it compensates by incorporating just the right energy in the play as to appropriately depict the message.<\/p>\n
References<\/p>\n
Billington, M (2008). “From Time Lord to antic prince: David Tennant is the best Hamlet in years”. The Guardian (London).<\/p>\n
Lyman, E J. (2009). “Rome fest to honor Kenneth Branagh”. The Hollywood Reporter (Nielsen Business Media). <\/p>\n
O’Connor, M. (2002). “Reconstructive Shakespeare: Reproducing Elizabethan and Jacobean Stages”. Wells and Stanton<\/p>\n","protected":false},"excerpt":{"rendered":"
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