Directors’ Interpretations

Question 1

Lazarus production

Answer 1

Older generation aren’t present - voiceovers instead.
Idea of outer powerful forces / God-like parents who dictate their life.
Younger generation as gathering in symbolic ‘group therapy sessions’ - show the destructive impact of older generation = condemned them all to tragedy.

Question 2

‘The Motive & The Cue’

Question 3

Richard Icke, In Act 3 Scene 1…

Answer 3

While Ophelia give back her letters, Andrew Scott feels her coller for microphones - surveillance

Inner conflict: Tries to kiss her violently during ‘painting’ lines

Question 4

Richard Icke, In Act 3 Scene 2…

Answer 4

While play is going on, the characters are in the audience, cameras in their face - SUPER METATHATRE

Question 5

Michelle Terry at the Globe

Answer 5

She plays Hamlet, and when under the antic disposition assumes a chaotic clown costume - playing the role of fool and using humour to make poignant points about society and life

Question 6

Richard Icke, In Act 3 Scene 3…

Answer 6

Instead of just making an excuse, the audience is shown Hamlet Shaking holding gun - inability to do it / pull trigger on Claudius (not just because he is praying)

Question 7

Richard Icke Ending

Answer 7

no definitive sense of damnation = everyone goes behind the gauze / curtain together, no differentiation between characters

Question 8

KENNETH BRANAUGH
Act 3 Scene 1

Answer 8

Hamlet dragging Ophelia around by her hair in ‘get thee to a nunnery’ - very violent and cruel - impassioned and violent action / doesn’t actually love her?

Question 9

RSC / DAVID TENNANT

Answer 9

Claudius & Ghost both played by Patrick Stewart (shared manipulation & corruption)

Question 10

https://www.rsc.org.uk/hamlet/past-productions

Question 11

RSC - GREGORY DORAN 2008

Answer 11

The production was filmed for DVD and broadcast on BBC Two in 2009. In the film, the theme of observation continues as the action is occasionally viewed as images on a CCTV monitor, and Hamlet films the players’ performance with a Super-8 camera.

Question 12

RSC Set

Answer 12

In Robert Jones’ set, weighed down with enormous sparkling chandeliers, all the action was reflected in the glossy black mirror-like floor and the huge full-height mirrors at the back of the stage, which shattered dramatically when Polonius was shot.
- detached and cold environment as home (spacing between characters in 1.2 - very separate)

Question 13

RSC Ophelia

Answer 13

Spends much of A1S3 on her knees - being spoken down to