tag:blogger.com,1999:blog-3797625503076565533.post2059275109999069639..comments2023-10-25T05:04:21.908-07:00Comments on AP EngLang @ GHS (class of 2015) : Hamlet Act ThreeMr. J. Cookhttp://www.blogger.com/profile/01556579115026049608noreply@blogger.comBlogger49125tag:blogger.com,1999:blog-3797625503076565533.post-38367101089410498922014-01-12T21:19:48.059-08:002014-01-12T21:19:48.059-08:00Create a concluding statement that is as bold and ...Create a concluding statement that is as bold and insightful as the response as a whole.Mr. J. Cookhttps://www.blogger.com/profile/01556579115026049608noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-86470257264946357702014-01-12T20:23:11.776-08:002014-01-12T20:23:11.776-08:00Everest C.
3.2
The most critical aspect to the mur...Everest C.<br />3.2<br />The most critical aspect to the murder of gonzago scene is the reaction of king claudius, human reaction to emotionally jarring images is often a key sign of inner turmoil, and Hamlet wishes to catch claudius with this tool. When comparing the Mel Gibson scene to the Ethan Hawke scene several key differences relating to the reaction of the king can be scene. The reaction in the Gibson version seems to be one of pure disgust and almost physical pain, and like in the Hawke scene it occurs when the murderer approaches the now dead kings crown. Hamlet played by Mel Gibson is also extremely happy to have had his plan work and for the king to have acted in such dramatic fashion towards the play, and he celebrates with the players and horatio. Ethan Hawke on the other hand watches the king throughout (yet not as closely as Gibson watches) and seems to be angrier with the king than happy about his films success in showing the kings emotion about the scene. ( of course Ethan Hawkes Hamlet created a movie and did not have any players to celebrate with, but he did not celebrate the discovery with horatio immediately either.)Mr. J. Cookhttps://www.blogger.com/profile/01556579115026049608noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-65002362087113436532013-12-11T16:35:54.591-08:002013-12-11T16:35:54.591-08:00Option #3
I watched Ethan Hawke’s version of the...Option #3 <br /> I watched Ethan Hawke’s version of the “Mouse Trap” and I greatly admired the creative approach the director took when creating the direction in which he went with making the mash-up of the film. Although, there are some changes I would have made myself. Not much was verbalized from either Hamlet or Claudius, not as much as in the other versions I watched. the verbalization really helps the viewer understand exactly what sort of intense emotions both of these men are experiencing at the given moment, specifically when the “play King” is being poisoned. When Claudius stands up and exclaims, “give me light”, I wish the director would have had Hamlet be more angry with his reaction. When Hawke speaks to Claudius right before he walks out, he does not seem to angry with his expression, more excited. There really wasn’t much conversation between Hawke and Claudius, or even Hawke and Ophelia that would have hinted at any sort of emotion Hawke was experiencing. He was not really interacting with his environment either, as in Branagh and Tennant’s versions. I would have had Hawke be explaining his film as it was playing, as Branagh does with his play as well as Tennant. It gives the viewer the feeling that Hamlet is relying greatly on the performance of this play to go smoothly, as to “capture the conscience of the King”. I would have also had Hawke interact with Ophelia in his inappropriate manner. When he does this, the viewer realizes how much he really has lost it, and establishes how their relationship is at that very moment. Hamlet is disrespectful, as well as dirty, which gives an insight on his mindset at the time, and how much the outcome of the play is gnawing at his mind during it. Hawke spoke one line to Ophelia in his version, and it made it seem as if they were on good terms at that point, which is known they are not. Branagh’s version must have made a great impression on me, because I wish Hawke’s version including the back and forth between Hamlet and Gertrude. This moment establishes the kind of terms that Hamlet and his mother are on at the moment, before they confront each other about their feelings. I would include this in Hawke’s version, as the Gertrude in his version is blatantly disgusted with what her son put in her movie. Although this version was very creative and unconventional, it lacked some of the information that was crucial to the development of Hamlet, Claudius’, Gertrude’s and Ophelia’s characters during that important scene of the play. Anonymoushttps://www.blogger.com/profile/00926314249803895517noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-22279099365703264182013-12-03T19:39:22.164-08:002013-12-03T19:39:22.164-08:00Julissa S.
Option 1
Kenneth Branagh distinctly pl...Julissa S.<br />Option 1<br /><br />Kenneth Branagh distinctly plays his role in a bright yet enriching scenery as compared to Mel Gibson where he performs the soliloquy in a underground dark what seems to be cave filled with soulless bodies. Mel Gibson seems to portray a simple minded Hamlet more of a type of Hamlet that is not going to take action. Mel Gibson himself doesn't seem convinced that he will perform active suicide to or death to any extent. The closing of the scene is the light dimming but instead in Kenneth's play Ophelia appears. Not only is that an interesting ending to the soliloquy but during the soliloquy Claudius seems to be watching upon Hamlet and almost heart fetchingly sweating of nervousness. Not to mention Hamlet pulls out a knife almost as a tease to take away his own life as the knife makes contact along his face. The knife is a powerful symbol of not being passive and taking action. Kenneth seems to be extremely engaged with his inner feelings of hatred and revenge. The mirror was a more discrete idea because from his reactions you could tell Kenneth's intentions and his facial expressions emphasized his feelings . While Mel Gibson seemed calm throughout the whole soliloquy.<br />Anonymoushttps://www.blogger.com/profile/08896981392432872011noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-31662842183273714092013-11-26T09:35:21.240-08:002013-11-26T09:35:21.240-08:00Meghan O.
Option #3
Kenneth Branagh’s version of ...Meghan O.<br />Option #3<br /><br />Kenneth Branagh’s version of “The Murder of Gonzago” left very little to desire, except for a few things. Overall, the performance was very good. Branagh is a very good actor and he did a great job of conveying the arrogance and pompous attitude of the facade that Hamlet put up before the show. One thing that I believe that Branagh could have accomplished to better the show would be to not have Hamlet scream toward Claudius and Gertrude while the performance was going on. I feel as if this made the scene too forward and made Claudius want to act less overwhelmed because he knew all the attention was being drawn onto him. Instead, Hamlet should have whispered it to Ophelia, and just let the home viewer audience hear what he was saying, rather than the entire atrium of people in the theatre. Hamlet spent a while talking about how he wanted to make completely sure that Claudius was guilty before he made his move to take revenge on him. He said something along the lines of "Shall he but blench", and the fact that he was screaming torward the king must have contributed to his uneasiness, therefore putting him under great pressure. This would greatly improve the scene because Hamlet would feel like he didn’t contribute to the uncomfortableness of Claudius, therefore his reaction to the play would be less biased and more true. Also, I feel as if the actual performance of the murder of Gonzago was not emotional enough. The words that were spoken by the players were quiet and not thoroughly emotional.Anonymoushttps://www.blogger.com/profile/16458166385907133440noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-29276563515835605662013-11-26T06:36:36.380-08:002013-11-26T06:36:36.380-08:00Cody Eaton
option 2
Michael Almereyda’s “Mouse Tr...Cody Eaton<br />option 2<br /><br />Michael Almereyda’s “Mouse Trap” covers Hamlet’s situation by using surprisingly simple footage that fits into the much more complex context. <br /> The film opens with a typical family portrait: smiling parents, doting upon their beloved child. Affection is abundant, and it portrays as ideal a childhood as could be. The interaction of the young boy with his father fits well with Hamlet’s glorious portrayals of his father as God-like, comparable to Hyperion. However, this image is most likely burnished by its contrast with his contempt and disgust for Claudius.<br />The film then depicts the poisoning of Hamlet, using simple cartoon footage. By using such flat animations rather than actual footage, he implies how fundamentally wrong the action was. There are three separate clips illustrating the death of Hamlet, ensuring that Claudius could not miss the hint if he tried. He is left to dwell on these images as the young boy tip-toes down the stairs. <br />As the boy watches from behind a corner, crude clips portraying Claudius and Gertrude fill the screen. The first shows one of Hamlet’s murderers kissing the queen on the hand. At first she seems reluctant, but then she gives in. The scene exemplifies just how easily Gertrude submitted to Claudius, as if within seconds. This resonates strongly to the lines “The funeral baked meats did coldly furnish forth the marriage tables.” 1.2.87-88 The ensuing clip appears to be extracted from a sex scene, much to the dismay of Gertrude; her shame and embarrassment is made quite obvious. <br /> The closing scene depicts an old, wrinkled man placing a crown upon his head, delighted it seems. Claudius then storms out of the theatre, visibly shaken and disturbed. It seems that Hamlet has successfully conveyed his thoughts of his mother, and gotten to Claudius all in one film.<br />The film stays very close to Shakespeare’s writing, ensuring that the themes and attitudes are drawn out so that the majority of viewers can identify them.<br />Anonymoushttps://www.blogger.com/profile/05630007417909981518noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-2641141242598840592013-11-26T06:28:09.460-08:002013-11-26T06:28:09.460-08:00Rachael S.
Throughout the Gibson and Tennant versi...Rachael S.<br />Throughout the Gibson and Tennant versions of “The Murder of Gonzago”, the actors play into Hamlet’s madness. When the play begins Gibson is going crazy with anticipation, sitting in a chair slouched down and constantly checking on Claudius’s reaction. Much like how Tennant also sits slouched, though it is upon Ophelia’s lap, and he continuously turns the video camera on Claudius, careful to capture his response to the play. Neither can sit still throughout the play due to the madness within them that keeps shining through. Even in the way they address Claudius and Gertrude comes off as pure madness. Tennant’s madness appears to be more lighthearted and funny when addressing his mother and uncle, as though he finds himself quite clever and funny for making such fools of them. Whereas Gibson is mad though in a more serious way. He questions Claudius and his mother more cunningly deceptive and mad rather than mockingly like Tennant. Hamlet’s actions towards Ophelia also reveal his madness. At the end of the play Gibson rushes to her and kisses her telling her to go to a nunnery, this being the only interaction they have during the play. This action characterizes Hamlet’s madness for it is unexpected by Ophelia, seemingly out-of-the-blue, impulsive just like a mad-man would be. Tennant instead discusses with Ophelia throughout the play, all the while making sexual jokes towards her and laying on her, occasionally biting her arm. He appears to be doing these actions impulsively like Gibson, though Ophelia does not respond as though she is scared or offended like the Ophelia of Gibson’s version did. One last case of the evident madness being played by both actors is their running around after Claudius leaves. They both seem joyous at his perfect reaction and cannot contain the strength of their feelings and must run around to let them out. <br />Anonymoushttps://www.blogger.com/profile/13920122753248549142noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-63260601086821546412013-11-26T04:55:10.239-08:002013-11-26T04:55:10.239-08:00Winslow L.
Option 1
The dramatic and unstable resp...Winslow L.<br />Option 1<br />The dramatic and unstable response given by Claudius in the scene directed by Franco Zeffirelli displays an interesting, human quality, to Claudius which isn’t seen in the rendition directed by David Tennant. Upon seeing the reenactment of the murder of his brother, Claudius appears very uneasy to say the least. He staggers up to the stage with his hand pressed against his head. While up there he staggers again, looking as if he's ready to collapse. Then, he looks to the crowd and laughs, a very strange reaction for a man that looked shocked just moments ago. In tennant's version, Claudius gets up calmly with a hint of uneasiness displayed on his face, and walks with normal speed to the front of the stage. Then, when delivering the line "give me some light", Claudius does so by shouting it out to the the audience and then hurrying outside in the version created by Franco Zeffirelli. In the version created by David Tennant, Claudius calmly asks for light from a servant, walks to Hamlet and shakes his head in disapproval. This is a sharp contradiction in the way these scenes are portrayed. I believe the Marco Zeffirelli version was made the way it was to make clear the guilt that Claudius has for murdering his brother. This can be seen in the bewildered look he gives the actor right before exiting the room. He looks as if he is in disbelief of what he has done, and this disbelief is clearly making him uneasy. Hamlet's behavior is very similar in both the Zeffirelli and Tennant version. In both renditions he seems wirey and fixed on the reactions of both Claudius and Gertrude. In the Zeffirelli version, Gibson is literally climbing over people to get a good look at Claudius's expression. Tennant is looking for anything he can find as far as a reaction goes. He even hints at the meaning of the play by telling Claudius that the title of the play is "The Mouse Trap". Both renditions portray Hamlet this way to show his desperation for a reaction. No reaction from Claudius would leave Hamlet with many questions about the spirit who visited him, so he must be able to sense something wrong with Claudius's demeanor. Anonymoushttps://www.blogger.com/profile/13141516242373582766noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-7381519594813924112013-11-26T03:11:37.170-08:002013-11-26T03:11:37.170-08:00Melanie MacDonald
Option 1
While the Hawke and Gib...Melanie MacDonald<br />Option 1<br />While the Hawke and Gibson versions used different mediums in order to portray the Murder of Gonzago, and chose certain parts from the play to focus on, both revealed the conscious of Claudius, and expressed the excitement that Hamlet was feeling. Both of the directors made the decision to have the Murder of Gonzago conveyed in a dumb show, without words. Although in the play version, there is both a dumb show, and a part with dialogue, these film versions decided not to incorporate dialogue, which allowed the message to be conveyed directly through actions. In the Gibson version of this play, the director decides to focus primarily on the actual murder of the King. The play starts off with the King sleeping, and a cloaked figure sneaks onto the stage. From the very beginning, Claudius looks surprised and uncertain on what is happening. He starts to rise from his seat as the cloaked figure approaches the sleeping king with poison, and stands up as he pours the poison into the King’s ear, a mere 30 seconds in. In the Hawke version, when he sees the vial of poison he looks surprised and uncertain. He continues to look surprised and in shock for the rest of the play, and stands up at the end when the new king put the crown on. Some people assisted him out of the theater, and Claudius stumbled on his way out, but not nearly as much commotion was made compared to the Gibson version. In that version, The entire theater followed Claudius out, in a mass of chaos. In both versions, Hamlet asks Claudius if he was “Frightened with False Fire”, which cues the King in that Hamlet had a plan all along. In the Gibson version, he acts very excited, and almost mad, and shouts with his friends. In the Hawke version, he is exited the ‘caught the conscience of the king’, but he shows his excitement in a more subdued approach.<br /> During the actual Murder of Gonzago, Hawke version was longer and included things other than solely the man pouring poison into the King’s ear. In this version, Hawke pieces movie clips together to make a scene. In the beginning, he shows a family, and includes happy father and son moments. I think this worked to break down Claudius to remind him the man he killed was more than the King, that he had a family and that he was a good man and father. This version also shows the poison, and the killing of the king, similar to the Gibson version, except after Hawke added a couple clips in the movie to directly show his anger towards his mom. The Gibson version did not have anything that illustrated Hamlet’s relationship to his mother. I think that the things that were in the Hawke version and not the Gibson version showed revealed more about Hamlet’s character. For instance, the father and son moments in the beginning revealed that he missed his father dearly, and the times they shared, and the scenes with a woman that is supposed to represent his mother show his anger towards her and how he thinks she is like a whore. Overall, I think the version with Hawke did a better job of showing the Mousetrap, and did a better job of showing the “conscience of the king.”Anonymoushttps://www.blogger.com/profile/16312555086542814790noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-11344314529151446742013-11-25T21:05:07.910-08:002013-11-25T21:05:07.910-08:00Kerri C.
Option #2
In the third clip by Michae...Kerri C. <br /><br />Option #2<br /><br /><br />In the third clip by Michael Almereyda the director put together clips of actions that Hamlet knew of, so that he could “catch the conscience of the King”. Hamlet presenting this film of clips to the King and his mother, the Queen, shows the need of revenge that Hamlet embodies. <br /><br />The first clip that the film shows is of a bottle of poison followed by a shadowy figure looming in the background and a man that appears to be asleep on a couch. While this man is asleep a vial filled with poison is dropped into his ear. The poison then kills the man. These first few clips were pasted together to get a reaction from the King, which it does because as each clip reveals itself on the screen he leans in closer and closer. Hamlet continuously looks back to see the reaction that the King has to the video playing so he can verify what he believed to be true. After the first person dies there are multiple clips of other things dying like the vibrant flower and the people dropping like flies.<br /><br />The little boy that creeps down the stairs in a sense is Hamlet and how he met te ghost of his father and that he was a witness to what had happened to his father and to what occurred after the death of his father. This was used as a technique to make the King nervous and uneasy. Gertrude is portrayed by Hamlet to be a disgusting woman because of the selected clips where the woman and the man are playing with each other’s tongues and faces that she makes when having stuff done to her by the man. These clips reveal that Hamlet sees his mother differently than he used to and he now sees her as a dirty and grotesque woman. <br /><br />Looping back to the male character placing the crown on his head in the film after the woman it draws the King back into the film. He then reacts to the film by standing up and leaving the room at the end in rapid speed. Racing out of the room gives confirmation to Hamlet and in turn he has caught ”the conscience of the King”.<br /><br />This film put together with the mashup of clips from other videos shows exactly what has happened in Shakespeare’s text. Executing the main ideas in an inventive way that captures the essence of the whole act that occurs on the video segment. The main ideas that were scene were the need of revenge for Hamlet because of his father’s death, how his views of his mother had drastically changed because of the loss of his father, and the need of closure related to the death of Hamlet’s dad.<br />Anonymoushttps://www.blogger.com/profile/08972097974167235539noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-61912276386302303652013-11-25T20:06:14.993-08:002013-11-25T20:06:14.993-08:00Kerri C.
3.1 Shuttle Comparison
Franco Zeffirel...Kerri C.<br /><br />3.1 Shuttle Comparison<br /><br /><br />Franco Zeffirelli and Michael Almereyda have two different approaches to the way that Hamlet performs this scene and the way Hamlet displays himself. Almereyda’s modern scene in the comic book store reveals the pain within Hamlet while Zeffirelli places Hamlet in a burial tomb surrounded by the dead which shows that Hamlet is facing pain, sadness, depression, and is ready to give up on life. Surrounding Hamlet with the dead remains provides the idea that he may personally feel dead on the inside. This is different from how Almereyda has Hamlet walking down the action aisle of the store, but still provides the pain that he faces in his surroundings. This is because the fire on the televisions he walks by reveal the torture he is feeling on the inside, fury that he is filled with, and the need for revenge. Franco Zeffirelli also uses foreshadowing because since Hamlet is surrounded by the death it leads you to conclude that someone that Hamlet knows or is close to may die in the near future.<br />Anonymoushttps://www.blogger.com/profile/08972097974167235539noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-26990237212403019052013-11-25T19:44:49.200-08:002013-11-25T19:44:49.200-08:00Michael M
Option #1
Branagh chooses to portray ...Michael M<br /><br />Option #1<br /><br /> Branagh chooses to portray this scene with regard to the script, while Tennant chooses to stick with the more laid back approach to the scene. Branagh shows Hamlet thrashing Ophelia with the sex jokes that are seen to be rude and offensive. Tennant includes the same sex jokes, yet he does it in such a way that they do not come off as offensive. Instead Ophelia seems to hug Hamlet tighter with each sexual remark. Both directors try to keep the play in a similar standpoint of acting. Tennant uses all male acting for the parts, much like would have been seen up on stage in Elizabethan England. Meanwhile, Branagh uses a more contemporary auditorium, stage like presence, unlike the private chambers feels of Tennant’s version. Tennant also choose to have very little dialogue amongst the actors, while Branagh’s actors each had long deep speeches about the situation put in place by Claudius. Branagh strays from Tennant’s idea to include Claudius’s intense sexuality that has driven him to this sin. The slinky behind the heart was a nice addition by Tennant, using few words to show huge ambitions. Branagh's Hamlet is also very loud and outspoken. He is seen blurting the actors lines and speaking directly to everyone throughout the play. In Tennant’s version he seems more refrained, even keeping the sex jokes quite. The King and Queen’s reactions are very different in the two directing choices. Branagh portrays Gertrude as stunned by the performance and almost angered. Meanwhile, in Tennant’s version there is little to no reaction from the Queen at all. The King has similar reactions, just on a higher scale, as the Queen in each. In Tennant’s version the King calmly rises from his throne, stares at at Hamlet and proceeds to leave the room. Then in Branagh’s version there is the rising tension in Claudius’s face followed by a very dramatic apex as Claudius suddenly arises and leaves hastily. One play within a play, two directors, and two totally different scenes are shown from Tennant and Branagh’s version of “The Mouse Trap”.Anonymoushttps://www.blogger.com/profile/10540803777554655734noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-17219876536806049952013-11-25T19:21:15.732-08:002013-11-25T19:21:15.732-08:00Option three for Tennant Version
In David Tennant...Option three for Tennant Version<br /><br />In David Tennant's version of the Gonzago murder scene, there were many directional and acting choices that I would do differently to convey a contrasting attitude for this scene. In Tennant's version, Hamlet sits on the ground with Ophelia clearly video taping Claudius reaction. I imagined in the book that the stage would be bigger, and the audience much larger also. I suppose it makes sense for that time period, to have a play be performed in close proximity to the ten people in the audience, but I think that if Claudius thought his reaction was more secret it would make Hamlet's discovery of his guilt more intense and surprising. I did not like how Tennant kept getting on the stage, with anxious eyes, to speak with Claudius and Gertrude about the play. I imagined those comments as more of an aside and I think that his loudness really interrupted the play. I think that the organization of the audience versus the players was distracting and confusing. Hamlet should be in the audience too, pretending to enjoy the play as he watches for Claudius' reaction. As for Claudius' reaction, it was undramatic. I imagined him getting up quickly, looking vulnerable and motioning for Polonius to help him as he squirmed under the pressure. Instead he just stood up and shook his head at Hamlet, who could not have been more obvious about taping his reaction. Also, for such a formal setting and compared tot he attire of the rest of the audience, Hamlet is out of place because he has no shoes on. That was very distracting to me and whether its because he's supposed to be mad or just because it was a directional choice I think it gave off the impression of immaturity and informality instead of insanity. Although this idea of the "Mousetrap" has a thread of insanity to it, it is Hamlet's best option and it quite intellectual of him to put the whole thing together. Because of this importance I think he should've portrayed a smarter perspective about the execution of the play by his staging in the audience, his reactions, his tone of voice, and his body position.Laura Johnsonhttps://www.blogger.com/profile/13245097153855827835noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-89764185910776712582013-11-25T19:10:33.010-08:002013-11-25T19:10:33.010-08:00Kate P.
Option #1
Murder of Gonzago Shuttle Compar...Kate P.<br />Option #1<br />Murder of Gonzago Shuttle Comparison<br /><br />I found the performance of both Tennant and Gibson to be a bit unnerving, as they both showed a bit more than the others, the insanity and unstability of Hamlet at this time in the play. In Gibson's performance, Hamlet takes the reaction of the king very seriously, in such a way that he looks more intense than the others, perhaps the way he follows the king, or always keeps him insight, jumping at any chance he gets to explain the significance of te play to his mother and Claudius. The director of Tennant's performance took a different route in that they had Hamlet film the king's reaction. Something I found about all of the clips from Tennant's Hamlet is that he has a very convincing way of playing a visibly insane person, and that's no different in this scene. Something in the way he crawls on the floor, the way he has that crazy look in his eyes is something that I think Gibson and the other actors lack to some extent. Both appear very hell bent on discovering the truth, but Gibson seems much more rational than Tennant about it, because the way Tennant acts, primarily his erratic movements, are particularly chilling. Also, the way Ophelia addresses Hamlet is very different in the two versions; with Tennant, the director has Ophelia act much more lovingly towards him, like she's concerned for him, where the Ophelia in Gibson's version seems a bit more hesitant around him. Lastly, the reactions of Claudius are completely different in the two versions. In Tennant's, he seems remarkably unphased by the play, shaking his head at Hamlet as he exists as if to say, "I know what you are doing, and it's not working." Gibson's Claudius differs in that he appears completely flustered from the performance, exiting hastily to find air, essentially giving Hamlet the reaction he wanted all along. Anonymoushttps://www.blogger.com/profile/07861177921893089240noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-48687532322806605942013-11-25T18:42:38.698-08:002013-11-25T18:42:38.698-08:00Paula Costa
“The Murder of Gonzago” Performance ...Paula Costa<br /><br /><br />“The Murder of Gonzago” Performance Comparison<br /><br /> David Tennant’s version portrays this particular scene in a very upbeat, funny way whereas Mel Gibson’s version portrays it in a more serious and suspenseful approach. The setting of Gibson’s version is more time appropriate both with the wooden pillars and chairs, but also with the Shakespearean wardrobe while Tennant’s version is played in what a modern palace would look like and the clothes are also modern (tuxedos). Gibson’s version starts with “You shall see anon how the murderer gets the love of Gonzago's wife.” which in the actual texts causes the king to rise and put an end to the play but in the scene it only starts the dumb show juxtaposed to Tennant’s version where he starts from “Speak the speech” in which he talks to the players, then Horatio and only afterwards starts the play. Both versions have the dumb show included in their scenes: in Gibson’s version the only performance is the dumb show and it is executed in a formal theatrical way unlike Tennant’s version which shows the dumb show as really silly and playful which leads to the real play in a more serious note. Gibson’s version skips the real play and it just sticks with the dumb play which surprisingly does not take away that much from the scene but the part where Hamlet talks about his mother whereas Tennant’s version does a throughout job in portraying the scene according to the text. Tennant’s version incorporates comedy into the dumb show and play itself by having the actors have really big ears, inappropriate clothing and act silly while acting whereas in Gibson’s version the players portray the scene in a very serious manner by having the murderer wear a black vest that covers him whole giving him a creepy evil look. Tennant’s version adds a little to the play by having the actor who is playing the dead king put a white sheet over him and act like a ghost while Gibson’s version adds to the play by having the dead king’s crown fall to the floor adding to the dramatic side of the play instead of having the anon take it before putting the poison in his ear. In Gibson’s version, the king stands up, walks almost to the stage and acts as if he is not feeling well then runs off screaming “give me so light” while in Tennant’s version the kind does not stand up, walk away, or show any big emotion towards the matter. At the end of Gibson’s version he completely drifts from the original text and runs out and sings with the players skipping the poetry part and talks and kisses Ophelia which never happens in the book while Tennant’s version sticks with the book almost all the way except with how the King never reacted. Both versions focused on the main subject which was to catch the conscience of the king and portrayed that well in their dumb shows. The difference was that Tennant chose to stay traditional with the plot and lines while completely modernizing the way it was acted whereas Gibson stayed traditional with the acting but modernized some plot and lines. Paulahttps://www.blogger.com/profile/05782635259070877782noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-73849904994289616392013-11-25T18:42:12.646-08:002013-11-25T18:42:12.646-08:00Option One Shuttle Comparison "Mousetrap"...Option One Shuttle Comparison "Mousetrap"<br /><br />I chose to watch the works of GIbson and Hawke again because i enjoyed their performances the last time i watched them. Once again i found that the actors in the Gibson version overreacted to the point that it was theatrical this was interesting and made it seem more like a play and less like a movie. Claudius was very flamboyant with his performance while watching "Mousetrap" he didn't try to hide it whatsoever which made the performance seem somewhat unrealistic but it did do a good job of showing how surprised and frightened Claudius was when he saw "Mousetrap". Hawkes version was much more realistic and modern. The acting was low key but not bland. Claudius in this version made a quick escape not drawing too much attention to himself which is what a real person probably would have done. Gibson did a good job of showing the insanity that is Hamlet. His emotions were as full of life as possible. Hawke was much more laid back and sane. He portrayed more modern reactions which were easy to relate too. Hawkes focused on Gertrude and Claudius. It was aimed at breaking them both at the same time. The part that stood out to me the most was that woman having sex which was clearly highlighting the fact the Gertrude cheated on King Hamlet and is involved with incest. Gibsons focused just on Claudius but it is shown that Hamlet has also struck Gertrude when she looks back at him in pain whilst he is celebrating. The music in Hawkes version was very intense which made the situation that much more nerve breaking. Gibsons version lacked music related to the vibe of the scene.<br /><br />Anonymoushttps://www.blogger.com/profile/09470599111428072858noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-82137831494878746342013-11-25T17:21:25.091-08:002013-11-25T17:21:25.091-08:00Option Number Three; Third Clip
I hate the setting...Option Number Three; Third Clip<br />I hate the setting. The casual Hamlet doesn't fit the character in my mind at all. As a director, I would elaborate the physical setting to match the language used by Hamlet. The boring normalcy of it all turns me away from it and I cannot bear to watch it. The goings on of Hamlet's mind aren't coming out of it, but rather just a voice-over as he walks through a video-store like Blockbuster.Anonymoushttps://www.blogger.com/profile/01900241811640636383noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-68797471415896576292013-11-25T17:18:23.240-08:002013-11-25T17:18:23.240-08:00Hamlet 3.1 Soliloquy Shuttle Comparison
Again, I h...Hamlet 3.1 Soliloquy Shuttle Comparison<br />Again, I have chosen Branagh and Tennant as my Hamlet examples because they both show possibly accurate emotional displays of Hamlet. Branagh's performance of this soliloquy visually shows Ophelia & Claudius eavesdropping on him as he really deeply ponders life and the life beyond it, or as we all call it, "death." I adore Branagh's portrayal this time around because hamlet is mad enough to be sure in his own dysfunctional mind of the innermost thoughts of it. Tennant however, still goes on making Hamlet a paranoid looking freak, someone who needs help and doesn't have faith in what he is doing. I believe Hamlet in this scene really has a lot of underlying meanings. Hamlet discusses whether life is really worth living because an escape from the pain is so near.. but then, what would one escape to? Hamlet ponders everyday questions in this soliloquy which is what I appreciate most about it. Branagh keeps Hamlet tied to the thought while Tennant looks tired and distracted.Anonymoushttps://www.blogger.com/profile/01900241811640636383noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-27575492489656836162013-11-25T15:43:18.895-08:002013-11-25T15:43:18.895-08:00Tess B.
Option #3
In Zeffirelli’s scene the over-...Tess B.<br />Option #3 <br />In Zeffirelli’s scene the over-dramatized reaction of Claudius to the intentional similarities Hamlet places in the play depicting a king’s death does not accurately display the silent shock I gathered Claudius possessing upon watching the play in the book. Zeffirelle’s scene begins with Gibson saying “You shall see anon how the murderer gets the love of Gonzago’s wife.” He directs this comment towards Gertrude who gives him a glare of ice in return. The director’s choice in having Hamlet directly deliver this line to Gertrude serves its purpose because the line carries with it a double meaning meant for Gertrude to feel the guilt of what Hamlet believes is a sin. Gertrude’s response does not mimic the passive response I expected from the book’s portrayal of her demeanor. Moving forwards into the scene, the actors carry on with the depiction of King Hamlet’s death until the abrupt standing of Claudius stops the actors and gathers the attention of the audience. He makes a huge display of his shock, and more importantly, his guilt, as he sharply inhales and his eyes widen. The abrupt standing is expected but that should stand to remain the only clue as to his guilt. Zeffirelli over does the reaction and makes it too obvious that the King is guilty especially when the King runs down the aisle holding his ear as if he has been physically affected by the poison himself. The scene drags on and what was supposed to be a subtle rising and departure turns into the main display of the play. Ophelia is supposed to say “the King rises” but she does not say this line as she is not in her place next to Hamlet. The Queen’s reaction to her husband’s sudden discomfort seems appropriate. She asks if he is alright with genuine concern and she, as well as most of the crowd, follows the King upon his departure from the theater. She looks back at Hamlet one last time as if in warning to be careful. Hamlet and Ophelia have an interaction where he tells her one last time to go to a nunnery. This scene does not, and serves no purpose to exist. The theater should be empty except for Hamlet and Horatio who, in the movie, did not seem thrilled by the King’s disturbed reaction and Hamlet’s jubilant dancing in response. I did not gather much emotion from Horatio in the book so perhaps he was as quietly tense in Shakespeare’s “Hamlet” as he was in Zeffirelli’s. Zeffirelli should have made Ophelia a larger part of the scene and made Claudius’s reaction less outwardly dramatic but more tense and rigid which could be shown by the emotion in his features. <br />Anonymoushttps://www.blogger.com/profile/13430394993736559988noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-85594250587371698732013-11-25T15:08:05.684-08:002013-11-25T15:08:05.684-08:00Joseph C
Option #2
In Michael Almereyda's ver...Joseph C<br />Option #2<br /><br />In Michael Almereyda's version of Hamlet’s “Mouse Trap,” Hamlet uses of clips of different films, to convey his feelings of resentment toward his mother, and expose what Claudius has done to "catch the conscience of the king." The first clip that is shown is of a flower opening up. The flower was used previously in the play as a representation of purity, because of the delicate nature of both. The flower represents Hamlet’s mother, and shows how she started off pure and beautiful. Scenes of happy families are the next clips shown, and they are meant to represent Hamlet’s family before the death of his father. The clips show a son playing with his father, and the father taking his son to bed. This shows Hamlet’s closeness with his father before he passed away, and leaves the audience seeing that Hamlet’s previous family was content and had no problems. A clip of the world turning shows how time passes, which sets up the next clip, and is the turning point of the video. A bottle of poison is shown, and a man walks into a room with a sleeping man, and drops the poison in the sleeping man’s ear. This resembles how Claudius supposedly killed King Hamlet, and the next scene of a man struggling represents how King Hamlet dies from the poison. A scene of a line of people falling one after another might show how Hamlet feels the Kingdom has, in a way, collapsed in a domino effect after King Hamlet’s death. A spiraling checkered pattern is shown after, which further suggests that the kingdom went into a whirlwind or has experienced a downward spiral. The same flower that was blossoming in the beginning is now shown wilting. Hamlet is saying that his mother has lost her purity after the death of King Hamlet, because she begins an “incetouos” relationship with Claudius and marries him two months after the death. A man with a Roman helmet is shown kissing a woman’s hand in a clip that looks similar to a previous one that showed someone taking another man away. Hamlet is saying that Claudius had King Hamlet removed, and then took his wife. After this, two people are shown passionately kissing and making love, which is supposed to be the Queen and the new King. An audience is shown clapping, which could represent how the country of Denmark has been accepting of the Queen marrying her late husband’s brother, and that Denmark has done nothing to show disapproval. The next scene is a man picking up a crown and placing it on his head, showing how Claudius stole the crown.<br /> The clips effectively convey Hamlet’s feelings of resentment toward his mother, by showing how she is a wilting flower, and by suggesting she did not mourn her husbands death, and almost immediately married Claudius after King Hamlet was killed or removed. Hamlet feels that Claudius has stolen the crown, and has ruined Hamlet’s once perfectly happy family. The clips show Claudius as the main antagonist and does not show many clips that target Hamlet’s mother, which differs from the play, since most of the play Hamlet wrote showed how his mother is unfaithful. The Queen’s image is damaged though in Almereyda's version, especially with the scene of Claudius and the Queen kissing. The intensity of this scene is significant because it suggests that the Queen does not feel the loss of her husband, and it really shows that their “incestous” relationship is repulsing and disgusting. Hamlet feels that Claudius stole the Queen, along with the crown, which is shown with the scenes of someone taking King Hamlet away, and then Claudius kissing the Queen’s hand. The audience clapping suggests that Hamlet thinks the public should have been less approving of Claudius marrying the Queen, since a large crowd clapping for two people kissing seems like an over reaction. The collage of clips that Hamlet has put together shows how Hamlet feels his perfect, happy family changed after his father was murdered by his uncle, and his mother has lost her purity when Claudius had stole her, and the crown.Joseph C.https://www.blogger.com/profile/17453364703227379887noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-58083355297206259932013-11-25T14:58:11.480-08:002013-11-25T14:58:11.480-08:00Option #1
Murder of Gonzago Shuttle Comparison
Bo...Option #1<br />Murder of Gonzago Shuttle Comparison<br /><br />Both Mel Gibson and David Tennant's versions of the "Muder of Gonzago" clearly show the hidden meaning of the play but they both use different techniques to show it. In Gibson's version the play and the characters (Hamlet, Claudius) are more dramatic when watching the play giving an air of suspense to the audience. In Tennant's version there is an air of comedy which makes the whole experience creepier because of the inner conflict where Hamlet is mad or if he is sane. Gibson's version of Hamlet seems more civilized, showing more of a angry mad than a crazy mad. Both plays depict the dark meaning very well, Gibson's is dramatic and full of suspense wheres Tennant's begins with a comedy. The reaction of the people around them differ as well, in Gibson's Claudius seems to realize what the play is about and he portrays a shocked, disbelieving look but in Tennant's Claudius seems completely calm, almost disappointed in a way when he shakes his head at Hamlet before exiting. I also noticed in Gibson's version Ophelia seems to realize what is going on when she questions Hamlet, but she doesn't press any further when he answers that it is mischief. This keeps Ophelia's obedient glamour still in place. In Tennent's version this is shown as well, but Ophelia seems to be bored with Hamlet, as if she is tired of having to deal with his crazy antics, yet she still sits beside him completely obidient. Gertrude tries to keep things light in Gibson's version when she delivers her famous line, "The lady doth protests to much methinks." This adds to the effect that she knows something is wrong and is nervous about the situation. In Tennant's version Gertrude delivers this line almost in a monotone voice with some anger cutting through. This gives her away a little bit, showing that she knows something and is angry that Hamlet knows. Overall both scenes use different themes to get the point of the play across.JosetteThttps://www.blogger.com/profile/00842211968970813544noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-84110042905333854132013-11-25T14:14:04.077-08:002013-11-25T14:14:04.077-08:00Jaclyn W
option #3 Murder of Gonzago mini essay
...Jaclyn W <br />option #3 Murder of Gonzago mini essay<br /><br />Gregory Doran’s version of Hamlet conveys dramatic mood swings throughout the movie, but lacks the same emotion during the Mouse Trap scene. Firstly with the direction of the players makes no sense what so ever. The actors in the dumb play should be facing Claudius and Gertrude instead of facing Hamlet and having their backs turned to the King and Queen. Shouldn’t the players be facing Claudius and Gertrude to get their attention and for Hamlet’s plan to actually work? It just doesn’t make sense for them to be facing away from the target audience. Speaking of the direction of the audience, everyone should have been on one side and Hamlet and Ophelia shouldn’t have been flung to the other side of the rug. This created a disorganized sort of look and made the format displeasing to the eye and point. If there is a play going on and everyone else is at one side you should be there and not biting Ophelia while in her lap. Going further on position of the scene Horatio was also at a weird position. Why is Horatio out in the blue standing at an angle where he cannot see Claudius without turning his head away from the play? That makes it a little obvious in what Horatio is doing and that they should have hidden Horatio behind something to watch the king or put him in a place where he could see Claudius 100% of the time. Lastly there should be a note that the whole scene came off more light hearted than it should have. The comedy of the dumb play that had sound shouldn’t have been a comedy with noise as it distracted the purpose even further of getting Claudius to cave in. Speaking of Claudius caving in his reaction to the play came very awkwardly as he stood up. Claudius gets up calmly in the most un-dramatic way possibly, and you could feel nothing or no reason to as why he stood. If he were to stand at least have Claudius go up a little faster or calmly say “enough” to Hamlet before leaving. Claudius picking up the fire and disapprovingly shaking his head at Hamlet also didn’t do much for the scene as a whole, sure it showed that Claudius knew what he was doing and was thinking “nice try” there was no point. That scene should have had drama and emotion but was played out so blandly overall it was a disappointment. Claudius should have quickly gone up and left and that would have been that. It would have made Hamlet’s speech of Claudius being guilty more understandable, because a guy calmly getting up means nothing. <br />Jaclyn W.https://www.blogger.com/profile/14428050906682160759noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-2225444815758769432013-11-25T14:10:08.706-08:002013-11-25T14:10:08.706-08:00Everest C
3.1 Shuttle comparison
The inner worki...Everest C<br />3.1 Shuttle comparison<br /><br /> The inner workings of a persons emotions have a lot to do with feelings of isolation or loneliness, times of introspection. Directors Olivier and Branagh both understand that William Shakespeare’s Hamlet is shaped by these feelings, but they each approach presenting it differently. Branagh presents his soliloquy before a mirror, which (as the viewers know) is a two way mirror. So while the feel of the scene is that Hamlet is isolated from others in Elsinore that could listen to him, the truth is that there are people listening in on his speech. Branagh is able to capture this aspect of isolation, as well as another important piece of Hamlets life, deception. On the other hand, Laurence Olivier elevates the level of isolation in his depiction of the scene, with Hamlet perched above a long fall down onto the rocks. When the camera is on Hamlet, all that is visible is Hamlet, the rock he sits on, and the gray sky in the background, entirely isolated. Both authors demonstrate a use of isolation (or lack of) but utilize it in different ways.<br /> Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-73564774612435562562013-11-25T14:07:08.937-08:002013-11-25T14:07:08.937-08:00Hamlet’s play within a play “The Murder of Gonzago...Hamlet’s play within a play “The Murder of Gonzago” is so important to the play as a whole, that the way that it is performed can make or break a rendition of the story. In particular, David Tennant’s version of the play is strikingly different from that of Ethan Hawke. Tennant’s version begins with a dumb show with clowns, while Hawke’s movie begins with images of happy families. Obviously the clowns are at first not meant to be taken as seriously, however as the play progresses it gets more dialogue-heavy, as well as more dramatic and more bothersome to the king. Hawke’s version is notably much shorter,and has no words whatsoever, instead showing movie clips depicting scenes of murder by poison, then scenes of lust, indicating Claudius and Gertrude’s situation more visually than simply telling about a murder, like Tennant’s version did. In particular, David Tennant himself was acting very strangely during the play, almost in a silly fashion, downplaying the meaning of the play, while Hawke barely even speaks at all. In hawke’s version, the film, and Claudius’ reaction can speak for itself, while the Tennant version downplays both the play itself, and even Claudius’ reaction, preferring to make the rest of the audience the focal point, as they act so rashly on Claudius’ leaving from the play, signifying Claudius’ mental turmoil almost more than he does. By contrast, hawke’s version sees the camera zooming in on Claudius’ face as he shows obvious signs of discomfort and guilt, to the point of storming out of the theater, with slightly less fanfare and commotion than the Tennant version. Spencer Tafthttps://www.blogger.com/profile/07087480019345778341noreply@blogger.comtag:blogger.com,1999:blog-3797625503076565533.post-21899006393185004152013-11-25T13:57:46.873-08:002013-11-25T13:57:46.873-08:00Emma P "The Murder of Gonzago" Shuttle C...Emma P "The Murder of Gonzago" Shuttle Comparison<br /><br />In both versions of the play, the King’s reaction is focused on more than the queens, but the King’s reaction in each one is very different. Hamlet focuses more on the queen in the beginning when he attacks her about marrying so soon after his father’s death. In the version with Tennant the queen is very contained and calm looking mostly concerned for her husband. In the version with Gibson, the queen’s reaction is more severe, but at the same time, most of it is for her husband. In the version with Tennant the director made the choice that the king’s reaction be almost imperceptible. You get to watch his face through Hamlet’s eyes with the use of a old-fashioned video camera. It is very hard to tell what the king is feeling, he keeps a completely straight face even when Hamlet announces that the play is called the “ Mousetrap.” The only time you can see any movement from him is when he gets up but his face is still unreadable. This version also has a more complete portrayal of the play. The version with Gibson features a king with a much more obvious reaction. The play is shorter but the king rows increasingly pale and nervous as he watches. He then stumbles up and all but runs from the hall because he is sin so much shock. Everything about the Gibson version is easier to read, including the setting. The tennant version requires more thought. In the version with Tennant the audience is much smaller, leading to a more intimate setting but there are also less people to read which, can influence what you think about Hamlet. Which way is better is hard to say because so little is known about Shakespeare’s actual intentions for this work.<br />Anonymoushttps://www.blogger.com/profile/05641490900463177128noreply@blogger.com