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1Hamlet explores the key themes of [blank_start]revenge tragedy[blank_end] such as social [blank_start]corruption[blank_end], the [blank_start]frailties of[blank_end] human nature and the [blank_start]justifiable venegance[blank_end] for an act that cannot be [blank_start]legitimately remedied[blank_end] due to [blank_start]instability[blank_end] following the disruption of the [blank_start]natural order[blank_end].
- Arevenge tragedy
- Bcorruption
- Cfrailties of
- Djustifiable venegance
- Elegitimately remedied
- Finstability
- Gnatural order
2"Hamlet" has an uncanny way of holding the mirror up to [blank_start]whatever age is examining it[blank_end]. The [blank_start]enduring relevance[blank_end] of the text is that the audience [blank_start]wants to be take inside Hamlet's mind[blank_end] - "It [blank_start]is we who are Hamlet[blank_end]" [blank_start]William Hazlitt[blank_end].
- Awants to be taken inside Hamlet's mind
- BWilliam Hazlitt
- Cwhatever age is examining it
- Denduring relevance
- Eis we who are Hamlet
3Shakespeare presents a [blank_start]monolithic unanimous society[blank_end] with uniformity [blank_start]of thought[blank_end], religion, [blank_start]idealogy and economics[blank_end]. Heirachal and [blank_start]socially rigid[blank_end], unquestioned religious beliefs and [blank_start]surety of an afterlife[blank_end] - Hamlet questions this in the final scene "[blank_start]The rest is silence[blank_end]".
- Amonolithic unanimous society
- Bof thought
- Cidealogy and economics
- Dsocially rigid
- Esurety of an afterlife
- FThe rest is silence
4The play is based on the [blank_start]theatre of illusion[blank_end] where the audience experiences the [blank_start]predicaments of the characters[blank_end] vicariously. By identifying with Hamlet [blank_start]psychologically and emotionally[blank_end] we are draw closer to him and are able to [blank_start]empathise with him[blank_end].
- Atheatre of illusion
- Bpredicaments of the characters
- Cpsychologically and emotionally
- Dempathise with him
5The n[blank_start]eglect, devastation and disorder[blank_end] within Denmark is conveyed through the [blank_start]recurring imagery[blank_end] "Unweeded garden that grows to [blank_start]seed things rank and gross in nature[blank_end]" . This provides us with the image that [blank_start]corruption is an eternal cycle[blank_end] that has grown from something vcomplex and will [blank_start]continue to grow more unethical[blank_end]. Shakespeare hints that the Danish political body is [blank_start]suffering from a metaphorcal disease[blank_end] and [blank_start]Claudius[blank_end] is the source of it.
- Aeglect, devastation and disorder
- Brecurring imagery
- Cseed things rank and gross in nature
- Dcorruption is an eternal cycle
- Econtinue to grow more unethical
- Fsuffering from a metaphorcal disease
- GClaudius
6The [blank_start]dramatic impact[blank_end] created by the [blank_start]ghostly apparition[blank_end] [blank_start]initiates the tragedy[blank_end] and establishes the play's [blank_start]foreboding mood[blank_end] as it is unclear whether the illusion is a "[blank_start]spirit of health[blank_end]" or "[blank_start]goblin damned[blank_end]"
- Adramatic impact
- Bghostly apparition
- Cinitiates the tragedy
- Dspirit of health
- Egoblin damned
- Fforeboding mood
7The [blank_start]catharsis[blank_end] conveyed in Hamlet's final acceptance of death "The rest is silence" evidences his [blank_start]rejection of Heaven and Hell[blank_end], thus allowing him to finally avenge his father's death without [blank_start]fear of purgatory[blank_end].
- Acatharsis
- Brejection of Heaven and Hell
- Cfear of purgatory
8The [blank_start]microcosm[blank_end] created by the killing of King Hamlet evidences that Hamlet's personal world is reflected within the [blank_start]political sphere of Demark[blank_end].
- Amicrocosm
- Bpolitical sphere of Demark
9The [blank_start]causation[blank_end] apparent in "The [blank_start]time is out of[blank_end] joint: [blank_start]O cursed spite[blank_end], that [blank_start]ever I was born to set it right[blank_end]" evidences that suffering is [blank_start]inherent in the human condition[blank_end], leding man to a [blank_start]noble form of dignity.[blank_end]
- Acausation
- BO cursed spite
- Cever I was born to set it right
- Dtime is out of
- Einherent in the human condition
- Fnoble form of dignity.
10The Ghost forces other characters to question Hamlet's sanity - the phantom works as a [blank_start]narrative exposition[blank_end], he sets the theme of [blank_start]deception and corruption[blank_end] from the moment he enters th eplay and gives Hamlet a [blank_start]sense of purpose[blank_end].
- Anarrative exposition
- Bdeception and corruption
- Csense of purpose
11The line "Angels [blank_start]and ministers defend us[blank_end]" shows how Shakespare wants us to fear for Hamlet's safety in order to [blank_start]heighten dramatic tension[blank_end] within the play. Hamlet's dead father is the [blank_start]catalyst for change[blank_end] and it is his [blank_start]draamtic rveelations[blank_end] that get the play underway.
- Aand ministers defend us
- Bheighten dramatic tension
- Ccatalyst for change
- Ddramatic revelations
12Shakespeare uses [blank_start]dominant metatheatrical elements[blank_end] to intentionally comment on the [blank_start]power of a play[blank_end] to provide insight into [blank_start]human nature and experience[blank_end], which encompassesses the evolving nature of the play. He also uses these elements as a [blank_start]subtle criticism of his time[blank_end], and makes some commentary on [blank_start]current theatrical theory[blank_end] and practices of his time.
- Adominant metatheatrical elements
- Bpower of a play
- Chuman nature and experience
- Dsubtle criticism of his time
- Ecurrent theatrical theory
13[blank_start]Robert Icke's[blank_end] London Production with [blank_start]Andrew Scott[blank_end] as Hamlet:
Even when Hamlet perplexes his conduct seems to [blank_start]make psychological sense[blank_end]: Scott fits the shakesperean language into [blank_start]contemporary tongue[blank_end] without sacrificing its [blank_start]lyricism[blank_end]. The [blank_start]politics of privacy[blank_end] are given an update with [blank_start]video screens tracking[blank_end] the movemeent of earthly and unearthly presences.- ARobert Icke's
- BAndrew Scott
- Cmake psychological sense
- Dcontemporary tongue
- Elyricism
- Fpolitics of privacy
- Gvideo screens tracking
14[blank_start]Salm Gold[blank_end], with [blank_start]oscar Isaac[blank_end] as Hamlet
- Gold's staging offers a profound [blank_start]theatrical meditation[blank_end] on the poetry of a play [blank_start]fixated on images of death[blank_end], dirt and decay. He concentrates on the play's [blank_start]intimate relationships,[blank_end] where the state buisness is secondary to the [blank_start]disintegrating human drama[blank_end] exposing [blank_start]stark truths about the human condition[blank_end].- ASam Gold
- Boscar Isaac
- Ctheatrical meditation
- Dfixated on images of death
- Eintimate relationships,
- Fdisintegrating human drama
- Gstark truths about the human condition
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- Quiz on Untitled, created by Georgina Coddington on 13/08/2018.
- Author
- Georgina Coddington
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- English
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