"The Heartache and the Thousand Natural Shocks That Flesh Is Heir To" - the Tragedy of Hamlet, Prince of Denmark
| In | Harvard University: DASH - Digital Access to Scholarship at Harvard |
|---|---|
| Ressourcentyp | Hochschulschrift Druckerzeugnis |
| Datum | 
2019-05 (Erscheinungsdatum) |
| Beschreibung | This thesis proposes that heartbreak is the core of Hamlet’s character, that it is “the heartache and the thousand natural shocks that flesh is heir to” that defines
him, not madness. From the actor’s perspective, it is imperative to gain an in-depth understanding of the thoughts within the character’s mind, as well as all the feelings within the character’s heart, for a truthful performance. Scholarship suggests that Hamlet is either on a path toward madness, given the visitations of his father’s Ghost, or that he is an intellectual, perfectly sane, and only feigning madness on the path toward avenging his father’s murder. The research methods employed are as follows: we compare six different performances of Hamlet by professional actors, then we analyze Hamlet’s relationships, and conduct close-readings of the text and selected soliloquies in order to find answers pertaining to Hamlet’s essence. The chief result suggests that Hamlet’s multiple heartaches, in conjunction with his compounded stress, may have induced a psychotic break. More specifically, an acute psychosis, that peaks in intensity and transparency in the Closet Scene. The psychosis is triggered when he confronts and berates his mother. This type of mental illness, or “madness,” would be the most suiting and realistic in portraying the character. My conclusion is that any actor fortunate enough to play the role of Hamlet should focus on the emotions within the character’s heart, truly understand the world surrounding our protagonist, contextualize his text, and then decide the fate of his mental health. If the heartbreak is extreme enough, it most definitely affects the mind. ; Dramatic Arts
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| dc:title | "The Heartache and the Thousand Natural Shocks That Flesh Is Heir To" - the Tragedy of Hamlet, Prince of Denmark |
| dc:creator | Popa, Robert |
| dc:description | This thesis proposes that heartbreak is the core of Hamlet’s character, that it is “the heartache and the thousand natural shocks that flesh is heir to” that defines him, not madness. From the actor’s perspective, it is imperative to gain an in-depth understanding of the thoughts within the character’s mind, as well as all the feelings within the character’s heart, for a truthful performance. Scholarship suggests that Hamlet is either on a path toward madness, given the visitations of his father’s Ghost, or that he is an intellectual, perfectly sane, and only feigning madness on the path toward avenging his father’s murder. The research methods employed are as follows: we compare six different performances of Hamlet by professional actors, then we analyze Hamlet’s relationships, and conduct close-readings of the text and selected soliloquies in order to find answers pertaining to Hamlet’s essence. The chief result suggests that Hamlet’s multiple heartaches, in conjunction with his compounded stress, may have induced a psychotic break. More specifically, an acute psychosis, that peaks in intensity and transparency in the Closet Scene. The psychosis is triggered when he confronts and berates his mother. This type of mental illness, or “madness,” would be the most suiting and realistic in portraying the character. My conclusion is that any actor fortunate enough to play the role of Hamlet should focus on the emotions within the character’s heart, truly understand the world surrounding our protagonist, contextualize his text, and then decide the fate of his mental health. If the heartbreak is extreme enough, it most definitely affects the mind. ; Dramatic Arts |
| dcterms:issued | 2019-05-01T00:00:00Z_2019-05-31T23:59:59Z |
| dc:identifier | http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004130 |
| dc:subject | William Shakespeare |
| dc:subject | Hamlet |
| dc:subject | The Tragedy of Hamlet |
| dc:subject | Prince of Denmark |
| dc:subject | Dramatic Arts |
| dc:subject | Theater |
| dc:subject | Theatre |
| dc:subject | Acting |
| dc:subject | Soliloquy |
| dc:contributor | Delaney, Talaya |
| dc:contributor | Airaldi, Remo |
| dcterms:isPartOf | Harvard University: DASH - Digital Access to Scholarship at Harvard |
| dc:description | Thesis or Dissertation; text |
| dc:type | Hochschulschrift |
| dc:type | Druckerzeugnis |
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"The Heartache and the Thousand Natural Shocks That Flesh Is Heir To" - the Tragedy of Hamlet, Prince of Denmark |
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"The Heartache and the Thousand Natural Shocks That Flesh Is Heir To" - the Tragedy of Hamlet, Prince of Denmark Popa, Robert Delaney, Talaya Airaldi, Remo William Shakespeare Hamlet The Tragedy of Hamlet Prince of Denmark Dramatic Arts Theater Theatre Acting Soliloquy |
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"The Heartache and the Thousand Natural Shocks That Flesh Is Heir To" - the Tragedy of Hamlet, Prince of Denmark |
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Popa, Robert Delaney, Talaya Airaldi, Remo |
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Popa, Robert Delaney, Talaya Airaldi, Remo |
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dc:creator dc:contributor dc:contributor |
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This thesis proposes that heartbreak is the core of Hamlet’s character, that it is “the heartache and the thousand natural shocks that flesh is heir to” that defines him, not madness. From the actor’s perspective, it is imperative to gain an in-depth understanding of the thoughts within the character’s mind, as well as all the feelings within the character’s heart, for a truthful performance. Scholarship suggests that Hamlet is either on a path toward madness, given the visitations of his father’s Ghost, or that he is an intellectual, perfectly sane, and only feigning madness on the path toward avenging his father’s murder. The research methods employed are as follows: we compare six different performances of Hamlet by professional actors, then we analyze Hamlet’s relationships, and conduct close-readings of the text and selected soliloquies in order to find answers pertaining to Hamlet’s essence. The chief result suggests that Hamlet’s multiple heartaches, in conjunction with his compounded stress, may have induced a psychotic break. More specifically, an acute psychosis, that peaks in intensity and transparency in the Closet Scene. The psychosis is triggered when he confronts and berates his mother. This type of mental illness, or “madness,” would be the most suiting and realistic in portraying the character. My conclusion is that any actor fortunate enough to play the role of Hamlet should focus on the emotions within the character’s heart, truly understand the world surrounding our protagonist, contextualize his text, and then decide the fate of his mental health. If the heartbreak is extreme enough, it most definitely affects the mind. ; Dramatic Arts Thesis or Dissertation; text |
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[2019-05-01T00:00:00Z TO 2019-05-31T23:59:59Z] |
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William Shakespeare Hamlet The Tragedy of Hamlet Prince of Denmark Dramatic Arts Theater Theatre Acting Soliloquy |
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