STUDY GUIDE
PERFORMANCE IN
SHAKESPEARE’S DAY
ELIZABETHAN AUDIENCES
When you think of Elizabethan theatre, you might picture an orderly scene: perhaps a large
auditorium, neat rows of chairs, audience members sitting quietly and attentively. However,
this image could not be further from the reality of Elizabethan theatre! A crowd at a rowdy
sports event or an audience at a circus are more comparable to the audiences that viewed
Shakespeare‟s plays on the Elizabethan stage.
By the 1570‟s, playgoing was a popular activity in London. Many authorities in London tried to
ban theatre because they feared that such large gatherings of people would lead to riots,
prostitution, and the spreading of the bubonic plague. The government opposed theatre, so
naturally playhouses became even more attractive to audiences. At its climax, the theatre
swarmed with as many as 25,000 people a week to see plays.
Those who made up the Elizabethan audience ranged from the wealthy aristocracy to the
common laborers. Like a modern concert today, the theatre of Shakespeare‟s day had varying
prices—the better the seat, the higher the price—allowing such economically and socially diverse
playgoers to enjoy the same entertainment.
STANDING ROOM ……………………………………………………….…………………………………ONE PENNY
Known as the “yard” or “pit,” this section of the theatre had no seats. Audience members in in
this space were known as “groundlings” because in most playhouses the pit was an actual yard
of plain earth next to the stage. The groundlings were packed into this area which held 500
people. Standing to see entire plays that often lasted for three or more hours in a crowded and
smelly amphitheater, the groundlings sacrificed comfort to view theatre.
THE GALLERY ………………………………………...……………………………………….……………TWOPENCE
If an audience member was willing to pay two pennies, she could have a seat on a bench under
one of the roofed galleries. This allowed for a more comfortable viewing experiencing.
LORDS’ ROOMS………………………………………...……………………………………….……………TWOPENCE
The lords‟ rooms were the most expensive seating in playhouses, but the price matched the
perks. These seats often sported cushions rather than plain wooden benches. The lords‟ rooms
had obstructed views of the stage; however, the rest of the audience could clearly see the
wealthy playgoers who sat in the lords‟ rooms.
With such large audiences flocking to playhouses, the actors on stage were not the only people
on display. The visibility of audience members allowed them to play a large part in the social
atmosphere of the playhouses. Audience members, especially the elite, were just as concerned
about being seen by the public as they were about seeing a play; therefore, the visibility offered
by the lords‟ rooms was worth the higher price.
THE THEATRE
The architecture of the early modern stage is continuously studied and re-created in hopes of
understanding the aspects that made this notorious form of entertainment appealing to its
audiences. Because many authorities did not agree with playhouses and referred to plays as
“lewd and profane,” many outdoor playhouses were built on the outskirts of cities. The most
well known theatres were: The Curtain, The Theatre,
The Swan, The Rose, The Globe, and The Fortune. The
most well-known indoor playhouse was known as
Blackfriars.
The outdoor playhouses were often much larger than the
indoor ones. The outdoor theatres held two to three
thousand individuals, while the indoor theaters, such as
Blackfriars, claimed to hold only six hundred citizens.
Many outdoor theaters were in a circular shape with
seating throughout the high walls. This circular
construction suggests that viewers were able to see the
stage from all points of view. Researchers have
described the stage as a platform several feet above the
ground that was projected into a center area. This
structure along with ground placements may have been
beneficial to the actor-audience relationship and
participation.
Theatres held a roof only above the back part of the
stage, which was usually held by two large columns. The roof often served as heaven, while a
hidden trap door on the stage‟s floor depicted hell. Doors or curtains located at the back of the
stage would conceal or suddenly reveal actors to the audience. Curtained areas known as
“discovery spaces” were used as closets, tombs, chambers, or shops.
THE ACTING COMPANIES
Playing companies were established during this time period in order to control the large
reproduction of plays. The two largest companies during this era were Lord Admiral‟s Men and
Lord Chamberlain‟s Men (Shakespeare‟s company). These two companies included approximately
twenty to thirty men for their productions. Because women were not allowed to act in
Elizabethan theatre, young males played female roles. The voices of the prepubescent males
were still high-pitched and their muscular physique was not matured, so young males could
perform convincing female portrayals. Elaborate, layered costumes also helped to make the
young males look more feminine, while wigs and makeup completed the entire transformation
from male to female.
ABOUT THE PLAY
ACT I
On a dark night at Elsinore castle in Denmark, Barnardo and Marcellus, accompanied by the
educated Horatio, attempt to speak to a ghost resembling the late King Hamlet. The three men
decide to share with Prince Hamlet what they have seen. The recently crowned King Claudius
gives a speech both celebrating his marriage to Queen Gertrude and grieving the death of the
late King Hamlet, thereby establishing his claim to the throne. Prince Hamlet is mourning the
death of his father and he is further distraught over his mother‟s quick remarriage to Claudius.
Laertes, the son of the lord Polonius departs for France after warning his sister, Ophelia, about
the dangers of a relationship with Hamlet. That night, the ghost appears to Hamlet claiming to
be the spirit of his father, King Hamlet, who reveals the details of his death and charges his son
to seek revenge.
ACT II
Ophelia tells her father about Hamlet‟s apparent madness. Polonius concludes that Hamlet‟s
behavior must be a result of his love for Ophelia and is eager to tell King Claudius about his
discovery. Polonius reveals to Claudius that Hamlet‟s love for Ophelia is the source of his
behavior; in an effort to prove this they decide to set up an encounter between Hamlet and
Ophelia and spy on them. The King invites a group of actors to Elsinore and Hamlet asks the
actors to recite a speech that he is fond of. Hamlet requests the Murder of Gonzago to be
performed the next night with a speech of his own inserted. Hamlet resolves to use Claudius‟
reaction to the play as evidence of his guilt.
ACT III
After spying on Hamlet and Ophelia, Claudius is convinced that Hamlet‟s behavior is not a result
of feelings for her. Polonius plans to spy on Hamlet again in Gertrude‟s room after the play.
Before the play, Hamlet instructs the players and asks Horatio to watch Claudius‟ reaction to
the play so that he may have a second opinion regarding Claudius‟ guilt. The play mirrors the
death of King Hamlet except that in the play, the king is killed by his nephew. However,
Claudius‟ reaction provokes Hamlet to act. Later, in Gertrude‟s room, the queen and Polonius
wait for Hamlet‟s arrival. Polonius tells the queen that she should chastise Hamlet for his recent
behavior. Hamlet storms into the room and they argue. Fearing for her life, Gertrude calls out.
From his hiding spot, Polonius cries for help. Hamlet draws his sword and stabs it through the
tapestry, killing the unseen Polonius. He continues to denounce his mother and rail against
Claudius until suddenly, the ghost of his father again appears before him.
ACT IV
Frantic after her confrontation with Hamlet, Gertrude tells Claudius what has happened.
Claudius wonders aloud how he will be able to handle this public crisis without damaging his
hold on Denmark. He tells Gertrude that they must ship Hamlet to England at once and find a
way to explain Hamlet‟s misdeed to the court and to the people. Elsewhere, Hamlet has just
finished disposing of Polonius‟s body. The king tells Hamlet that he must leave at once for
England. Hamlet enthusiastically agrees and leaves Denmark. Later, a furious Laertes storms
into the hall, ready to avenge his father‟s death. A messenger enters with a letter from Hamlet
to Claudius, which informs the king that Hamlet will return to Denmark the following day. The
king begins to think of a way for Laertes to ensure his revenge without creating any appearance
of foul play. The king speculates that if Hamlet could be tempted into a duel with Laertes, it
might provide Laertes with the chance to kill him. Laertes will use a sharpened sword rather
than the customary dull fencing blade. Laertes also proposes to poison his sword, so that even a
scratch from it will kill Hamlet. The king concocts a backup plan as well, proposing that if
Hamlet succeeds in the duel, Claudius will offer him a poisoned cup of wine to drink from in
celebration. Gertrude enters with the tragic news that Ophelia, mad with grief, has drowned in
the river.
ACT V
Hamlet and Horatio enter the churchyard at a distance and watch the gravediggers work. When
the funeral procession for Ophelia enters the churchyard, including Claudius, Gertrude, Laertes,
and many mourning courtiers, Hamlet realizes who has died. At the same moment, Laertes
becomes infuriated with the priest, who says that he cannot give Ophelia a proper Christian
burial because she might have committed suicide. Laertes leaps into Ophelia‟s grave and
Hamlet, declaring his own love for Ophelia also jumps into the grave. The next day at Elsinore
Castle, Hamlet is summoned to fence with Laertes. The court marches into the hall and the king
says that if Hamlet wins the first or second hit, he will drink to Hamlet‟s health, then throw into
the cup a valuable gem and give the wine to Hamlet. The duel begins and Hamlet strikes Laertes
but declines to drink from the poisoned cup. He hits Laertes again, and Gertrude rises to drink
from the cup. They fight again, and Laertes scores a hit against Hamlet, drawing blood. They
manage to exchange swords, and Hamlet wounds Laertes with the poisoned blade. The queen
falls and moans that the cup must have been poisoned. Laertes tells Hamlet that he, too, has
been slain, by his own poisoned sword, and explains the King‟s actions. Hamlet stabs Claudius
with the poisoned sword and forces him to drink down the rest of the poisoned wine. Hamlet
tells Horatio that he is dying and urges his friend to stay alive and tell his story.
MEETING THE CHARACTERS
HAMLET
is the Prince of Denmark, and the son of the late King of Denmark, also named
Hamlet. The death of his father, King Hamlet, has left Hamlet a grieving man. To many of the
other characters in the play, Hamlet‟s prolonged and intense grief seems like madness. Also,
Hamlet resents his mother Gertrude for remarrying his father‟s brother Claudius so quickly after
his father‟s death. When Hamlet‟s father‟s ghost appears telling Hamlet that Claudius
murdered him so that he could marry Hamlet‟s mother and become king, Hamlet swears to his
father‟s ghost that he will seek revenge and kill Claudius.
Hamlet‟s obsession with revenge drives him to fits of anger and contemplations about the
meanings of life and death. Hamlet is a complicated character, full of contradictions. He is
reflective and philosophical, and becomes frustrated with his indecisiveness and hesitancy in
killing his uncle for revenge. However, even though Hamlet is hesitant, he is capable of
impulsive and violent acts.
GERTRUDE, Queen of Denmark, is Hamlet‟s mother and the widow of King Hamlet.
Gertrude married King Hamlet‟s brother Claudius only a few months after her husband‟s death.
Gertrude seems greatly troubled by Hamlet‟s strange behavior and his prolonged mourning. Even
though she seems to care for Hamlet, he sees her as weak and corrupt for entering into such an
incestuous marriage to the murderer of her husband.
HORATIO
is one of Hamlet‟s best friends. Hamlet trusts him above anyone else and goes to
him for advice. He values his cool temper even though he despises this in himself. Horatio
remains loyal to Hamlet throughout the play and seems to be the only person on whom Hamlet
can rely.
ROSENCRANTZ AND GUILDENSTERN
were schoolmates of Hamlet. They
grew up together and were best friends when they were young. Because of their connection
with Hamlet, Claudius recruits them to spy on Hamlet to determine the cause of Hamlet‟s
strange behavior. Neither have a problem betraying Hamlet‟s friendship in order to serve the
King. Hamlet suspects their loyalties and does his best to dodge them throughout the play.
FORTINBRAS
is the Prince of Norway. He is the son of the king of Norway who was
defeated by old King Hamlet. Fortinbras raises an army to reclaim his inheritance lost by his
father to King Hamlet of Denmark. At the end of the play Hamlet recommends that Fortinbras
be made King of Denmark. There are definite parallels to be drawn between Hamlet and
Fortinbras. Both are the sons of kings and princes of their country and both are the nephew of
the current king.
THE GHOST
is an apparition taking on the form of Hamlet's father, the late King Hamlet
of Denmark. This spooky specter appears to Hamlet in Act I to give him an assignment: avenge
his rather suspicious death. The Ghost is a mysterious figure. Is he really Hamlet's father? Is his
story of murder true? What does his appearance say about the afterlife and the fate of the old
king's soul? These questions cause Hamlet much emotional and psychological turmoil throughout
the play.
CLAUDIUS is the brother of Hamlet's father; not only did he inherit the throne ahead of
Hamlet, he also married Hamlet's mother much too soon after the old king's funeral. Because of
this quick marriage, he is Hamlet's main antagonist even before Hamlet is told by the Ghost that
Claudius killed the old king. Claudius's speech is dangerous; he uses his quick wit and
manipulation to poison the minds of others in order to increase his own power. He is suspicious
of Hamlet throughout the play.
POLONIUS is an adviser to Claudius, and the father of Laertes and Ophelia. He is
convinced throughout the play that Hamlet's madness is caused by his love for Ophelia; Polonius
has ordered her to reject the prince's advances. Much trouble is caused by Polonius's meddling,
including his own downfall.
LAERTES is the son of Polonius. Although he absent (in France) for most of the play, he
appears often enough to provide a contrast to Hamlet. Laertes is hot-tempered, confident, and
quick to take action. He is easily pulled into a dark plan by the conniving Claudius, to disastrous
effect.
OPHELIA, Polonius's daughter and Hamlet's big crush, is a brief but haunting presence in
Shakespeare's play. Forced by her father to reject Hamlet and then spy on him as he appears to
go mad, Ophelia is a tragic figure of unrequited love, sorrow, and madness.
CONNECTING THE CHARACTERS
ABOUT THE PRODUCTION:
AN INTERVIEW WITH THE DIRECTOR
Bob Hupp is the Producing Artistic Director of the Arkansas Repertory
Theatre and the director of the Rep‟s current production of Hamlet.
Bringing Shakespeare‟s classic masterpiece to life requires an entire
team of artists and designers: the set designer, lighting designer, fight
coordinator, composer, prop designer, costume designer, actors and
stage crew all work together to pull off the show. As director, Mr. Hupp‟s
job is to oversee every aspect of the production and ensure that all the
elements work together to form a coherent final product.
ON ACTING...
“You have to approach the play like it‟s the first time the play‟s been done, but you know, it‟s
Hamlet, so it has a huge footprint. The actors have all seen all the famous productions. They
will have all watched the films. You have to say them, „Okay, don‟t bring that baggage to the
process.‟ I suspect most of our actors have worked on Hamlet at some point in an acting class or
on stage and you have to create world that everyone‟s in for this audience, at this time, and put
aside all the other baggage and all the other preconceptions. In some respects for the actor
playing Hamlet, there are traditions that certain actors have initiated and you have to decide
„Am I going to continue those traditions? Am I going to continue the things that have been done
in the past or am I going to break out and try new things?‟ That‟s an exploration you do in the
rehearsal process. Basically, you try to talk to the actors about bringing out the language,
honoring the language, focusing on telling the story through the language.”
ON THE SET DESIGN...
“I never want things to be slavishly historic; I‟m not trying to create a museum piece. I‟m not
trying to recreate some kind of pageant. This play will land around the turn of the century or
around the era of World War I, around 1914-1919, just because that gives me that flavor of
political change and upheaval in Europe. However, it will not be slavishly accurate no matter
what rough era I choose to set it in. To me the play is timeless, so I like the elements of design
to reflect the timelessness. Nor do I want the design to get in the way of the words. [There is
an ]old adage in theatre: dense text- sparse set, sparse text- dense set. I always prefer a more
minimal, more sculptural approach to set. The design will be very sparse— almost no furniture
on stage ever. I don‟t expect any set changes. I might have a couple of pieces of furniture, but
it‟s not going to be like, „Now we‟re in the castle‟ so we have a castle. I don‟t care for those
things. I like my design to be abstracted and again, focus on the words.”
ON THE TEXT...
“The subtlety , the nuance, the contradiction, the complexity of the character is
unprecedented. I don‟t know that there‟s another character that‟s been created in literature—
any literature—that is as complex and rich and speaks to people of every era of every walk of
life the way the character of Hamlet does. This sort of revenge tragedy is one of the singular
stories ever told in Western literature. You can‟t read it and feel like you have a handle on it.
There‟s always another Hamlet to explore, there‟s always something to think about or
contradict or agree with. Every word that you read, you can find something in your own culture,
in your own era that makes it timeless.”
ON THE CHARACTER OF HAMLET...
“I think first of all, he‟s funny. He‟s got a great sense of humor. He has a pretty good gig going
until things go bad with his dad. He‟s got a pretty girlfriend, he‟s got a good education, he‟s
going to inherit a kingdom that‟s in power, that‟s a very powerful kingdom. At the time Denmark
controlled England, for instance. So it was a pretty good gig and then things kind of go south
when his dad dies and his mom remarries so quick. So it really is about this guy who is
unprepared for the immensity of the task in front of him and who is smart enough to know he‟s
not his dad. His dad was a man of action. Hamlet is a more reflective guy, and it‟s much harder
for him. He thinks too much. He is introspective in that regard and he is not a man of action. He
has to grow up really fast.”
ON HIS RESPONSIBILTY AS DIRECTOR...
“We have a great team of people. A composer will have some original music in the play. Our
sound design, our lighting design, costume, set, and fight choreographer are all excellent people
who have all worked together with me before on other Shakespeare [shows]. I think we‟ve
assembled a great group of actors for this production. My job at this point in the process is to
work with the disparate elements: the actors are here, the costume designer is there, the
designers are over there. I‟m the only continuity between the those things that are happening
right now. In another month or two, all those elements will come together, and hopefully, they
will gel. Sometimes you get all the best ingredients and the cake tastes like crap. But sometimes
it doesn‟t. Sometimes it‟s delicious. We‟ll see.”
ON HIS HOPES FOR THE SHOW...
“I want them to come away saying, „Wow, that was a great story. That was fun. I thought I was
going to come out here and be bored to death.‟ or „Somebody made me come see it, and I‟m
glad I saw it because I feel like this was a real relevant story.‟ I hope people enjoy themselves.”
ABOUT THE PRODUCTION:
THE COSTUMES OF HAMLET
OPHELIA
HORATIO
LAERTES
THE PRIEST
THE GHOST
CLOSE-UP ON HAMLET
The importance of Hamlet as a character is evident in his
continuing popularity among scholars, actors, students, and
teachers. Hamlet is a challenging character to understand and
to portray because he embodies every dramatic situation that
exists in life. He struggles with his relationship with his parents,
his friends, his love, the supernatural, his country‟s safety, and
revenge. He must make decisions that will affect the rest of his
life as well as the future of his country. While most of us have
never encountered such dramatic situations, we can attempt to
understand why Hamlet is so conflicted.
WHY DOES HAMLET DELAY?
The question most asked by students is why Hamlet delays in
action when provided an opportunity to take his revenge. This
is perhaps the most complex question to answer due to the
many variables involved. While watching the play, try to keep
in mind the many motivations behind Hamlet's act of revenge:
Burden of proof: can he act without being certain of his uncle's guilt?
Justice: how can one right a wrong without committing a crime of their own?
Politics: what would killing the king do to the country or to Hamlet's status as prince?
Religious Belief: would the death of his uncle by Hamlet's own hand be an ethical solution
and what would the result of the action be on Claudius' soul as well as Hamlet's?
IS HAMLET INSANE?
Whether Hamlet is going insane or not has been a topic of debate among many readers of the
play. Was it a clever trick or a manifestation of paranoia? Watch closely throughout the
production for signs of Hamlet‟s madness. Does it seem genuine or performed (or both)?
What makes you think so?
WHY IS HE SO OBSESSED WITH DEATH?
One of the many fascinating aspects of the play is the questions it raises about the nature of
death. Throughout the play you'll notice Hamlet becoming obsessed with the topics life, death,
and what happens after we die. The theme of death appears again and again in the play through
characters such as the Ghost and Yorick as well as thoughtful soliloquies on Hamlet's part. Try
asking yourself the following questions throughout the play:
What does this say about Hamlet's emotional state?
How does this relate to the theme of revenge?
What does this mean on a moral or spiritual level?
WHAT ARE HIS THOUGHTS ON WOMEN?
Hamlet‟s feelings about the women in his life change after the death of his father. He has a
sudden distrust for his mother because of her questionable marriage to her husband‟s brother
and this bleeds into Hamlet‟s opinion of all women. Where do you see signs of this in the play?
How do the women in Hamlet‟s life react to his behavior? Why is this important?
HOW DOES HE FEEL ABOUT HIS MOTHER?
Some people have suggested that Hamlet has an unusually strong emotional attachment to his
mother that borders on sexual attraction. Many scholars use this as an answer to why Hamlet is
so heartbroken over his mother‟s marriage to his uncle. Others have debated that Hamlet is
more upset over the fact that his mother married that man that murdered his father. Could it be
that jealousy drives Hamlet‟s desire for revenge against his uncle? Or is he just emotionally
conflicted and his actions are confused with sexual desire?
WHO ARE SOME FAMOUS “HAMLETS” OF THE PAST?
Richard Burbage, c.1600
John Phillip Kemble,1781
Kenneth Branagh, 1996
Mel Gibson , 1990
Edwin Booth, 1870
Jude Law, 2009
TO BE OR NOT TO BE:
A CLOSER LOOK
HAMLET, ACT 3, SCENE 1
HAMLET :
To be, or not to be; that is the question:
Whether „tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And, by opposing, end them. To die, to sleep—
No more, and by a sleep to say we end
The heartache and the thousand natural shocks
That flesh is heir to--‟tis a consummation
Devoutly to be wished. To die, to sleep.
To sleep, perchance to dream. Ay, there‟s the rub,
For in the sleep of death what dreams may come
When we have shuffled off this mortal coil
Must give us pause. There‟s the respect
That makes calamity of so long life,
For who would bear the whips and scorns of time,
Th‟opressor‟s wrong, the proud man‟s contumely,
The pangs of disprized love, the law‟s delay,
The insolence of office, and the spurns
That patient merit of th‟unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would these fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovered country from whose bourn
No traveler returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o‟er with the pale cast of thought
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action. Soft you, now,
The fair Ophelia!--Nymph, in thy orisons
Be all my sins remembered.
This famous soliloquy begins with a line
familiar to many: “To be, or not to be; that is
the question.” This question is the subject of
the soliloquy and can be interpreted in many
different ways. The line serves to remind us of
Hamlet as a philosopher. Hamlet has been
called to action by the ghost of his murdered
father but spends much of his time in
indecisive thought. This failure to act is a
great source of frustration for Hamlet.
Notice how the soliloquy ends with the word
“action.” By the end of the speech, Hamlet
has effectively answered the question he
posed at its onset. This soliloquy marks an
important turning point in the play for
Hamlet—he transitions from Hamlet the
Philosopher, uncertain in his course of action
and weary of his fate and responsibility, to
Hamlet the Man of Action, steadfast in his
resolve to carry out his father‟s revenge.
Ending the soliloquy with “action” suggests
another common theme throughout the play—
acting. Hamlet is called to act out the role of
justice mediator or avenger. In order to
accomplish this goal, he acts insane. Hamlet is
very specific about how he wants the play in
the Mousetrap scene acted by the players. By
ending the soliloquy with the word “action,
Shakespeare presents a dichotomy between
the internal process of thinking and
questioning and the external mask the
character must assume in acting out his roles
on the stage of life.
LINES TO LISTEN FOR
William Shakespeare is easily one of the greatest wordsmiths in the English language. The
beauty of his poetry, the wit of his prose, and the insightful philosophic underpinnings of his
texts have stood the test of time. The play Hamlet is full of great speeches and famous lines—
you might even know a few already! Here are a few lines to listen for...
“THOUGH THIS BE MADNESS, YET THERE IS METHOD IN’T.”
-ACT 2, SCENE 2, LINE 203
Polonius begins to realize that there is more to Hamlet‟s recently acquired madness. He, of
course, sees that Hamlet appears to have gone completely mad, yet he knows that he has not
lost his wit and clever tongue. Regardless of whether Hamlet‟s madness is genuine or feigned,
Polonius recognizes a compelling driving force behind his behavior.
.“THUS CONSCIENCE DOES MAKE COWARDS OF US ALL.”
-ACT 3, SCENE 1, LINE 85
While contemplating what actions he must take in order to carry out the will of his father‟s
ghost, Hamlet realizes that it is the conscience that makes taking action so complicated. Hamlet
would love to strike down those which he believes have wronged him, but fears the consequences to his own soul of such a move.
“I WILL SPEAK DAGGERS TO HER, BUT USE NONE.”
-ACT 3, SCENE 2, LINE 366
This quote shows the importance of language in Hamlet and the ability to use it as a weapon. In
this instance, Hamlet proclaims that he will be fierce when confronting his mother about her
actions that have nearly driven him mad, yet he will restrain himself from doing any physical
harm to her. Hamlet knows the power and effectiveness of his words will be greater than any
physical abuse he could impose.
“TO BE OR NOT TO BE, THAT IS THE QUESTION.”
-ACT 3, SCENE 5, LINE 58
One of the most famous lines in the entire history of drama and literature, Hamlet is weighing
life's numerous struggles against the uncertainties of death. This is the first line in one of
Hamlet‟s many soliloquies and Hamlet expresses in this soliloquy his maddening frustration with
his own frailties and lack of action. He ponders over the painful trials that can make life so
arduous and he is trying to decide whether it is worthwhile to endure the grievous hardships and
keep on living or if it would be better to just go ahead and embrace the eternal slumber that is
death. Hamlet answers his own question later in the play.
“WE FAT ALL CREATURES ELSE TO FAT US, AND WE FAT
OURSELVES FOR MAGGOTS.”
-ACT 4, SCENE 3, LINES 22-23
Hamlet is commenting on the process of natural renewal in a grossly tainted, meaningless world.
He has become incredibly disenchanted with life, which he sees as having no purpose other than
to prepare itself for death. This is just one example of Hamlet‟s cynicism which has been caused
by the corruption that surrounds him. Even though death is fraught with uncertainty, its
inevitability is the only certainty that Hamlet knows.
"ALAS POOR YORICK."
-ACT 5, SCENE 1, LINE 171
Hamlet is gazing upon the grim appearance of Yorick's skull that belies his fond memories of the
jovial jester. He muses on the abrupt transience of life and finds it curious that someone he
once knew so well now is now nothing more than a skull in the palm of his hand. As he is
remembering his pleasant times with Yorick, the jester‟s skull also serves as a cold, cruel
reminder of death‟s immediacy and inevitability, a thought which nauseates Hamlet. Hamlet is
no longer experiencing death in a distant, abstract manner (ex. to be, or not to be?); he is now
confronted with its harsh reality literally face-to-face.
SHAKESPEARE FUN FACTS
William Shakespeare was born April 1564 to Mary and
John Shakespeare. He was baptized on the 26th of
April as a member of the Holy Trinity of Stratford upon
Avon and attended a Stratford grammar school close to
his place of birth. When he was just 18 years old,
Shakespeare married Anne Hathaway (1556-1623) and
they had three children: Susanna, and the twins Judith
and Hamnet (1585-1596). Shakespeare died on April 23,
1616 and is buried at the Holy Trinity Church in
Stratford-upon-Avon.
WOMEN IN A MAN’S WORLD:
GERTRUDE & OPHELIA
Gertrude and Ophelia play far more significant roles than
their limited stage presence might suggest. The audience
meets both characters at a time when Hamlet is
questioning women and their behaviors, due to his
mother‟s hasty marriage to his uncle. How does the play‟s
focus on Hamlet and his emotions color the way we view
her? Why did Shakespeare leave Gertrude‟s intentions
unspoken and ambiguous? In the first encounter with
Gertrude and Hamlet, she encourages him to stop
mourning and accept the new king. Is Gertrude speaking as
a mother or a queen? Does she seem to perceive her son‟s
feelings of distress? Gertrude‟s position is always in
relation to men; her roles are queen, wife, and mother.
What difficulties does she face in balancing these roles?
She obviously has power to influence Hamlet‟s emotions,
but does Gertrude possess real authority? The
confrontation between Hamlet and Gertrude takes place in
Act 3, Scene 4. They are never alone together onstage until
Hamlet kills Polonius. How does Gertrude react in the
confrontation? Is she sincere?
Shakespeare has woven a complicated story in Hamlet−
much of it based on
suggestion. The first time
we meet Ophelia, Laertes
is warning her about
Prince Hamlet. What is
Ophelia‟s response to her
brother in this scene? As
with Gertrude, the focus
on Hamlet and his
emotions influences the
audience‟s perception of
Ophelia. Her father,
brother, and the king use
Ophelia as a tool to
unravel the mystery of
Hamlet‟s behavior. How
does their treatment of
her demonstrate the way
GET THEE TO A
NUNNERY!
Hamlet takes place a few
hundred years before
Shakespeare‟s own time, which
was rife with religious turmoil
between Catholicism and
Protestantism. Hamlet raises
many questions about these
changes to the audience. In Act
3, Scene 1, Hamlet repeatedly
commands Ophelia, “Get thee
to a nunnery.” For centuries,
the nunnery was an important
institution for unmarried
women. The decision to become
a nun was respected. A life in
the nunnery meant a woman
was provided for, and so
daughters who could not marry
often ended up taking religious
vows. Why would Hamlet tell
Ophelia to go to a nunnery? By
the first performances of
Hamlet, the nunnery was a
vanishing institution. What
would the loss of this
establishment mean for women
in Shakespeare‟s England?
Consider that a slang meaning
for “nunnery” was “brothel.”
This dual meaning makes
Hamlet‟s demand quite
different. How does it change
your reaction to this scene?
When Hamlet suggests that
women are “breeder[s] of
sinners,” what does he reveal
about his view of women?
treats her cruelly in the nunnery scene, and his
statements about their relationship conflict. Are
Hamlet and Ophelia deeply in love? Her soliloquy
at the end of their confrontation is important; it
reveals Ophelia‟s own thoughts. What conclusions
can you draw about Ophelia‟s character? The
following scene depicts a very different
interaction between Hamlet and Ophelia at the
play. Why does Shakespeare place these scenes
together? As the story unfolds and her father is
killed, Ophelia mirrors Hamlet‟s emotional
unraveling. What parallels can you draw between
them? How do the reactions of the other
characters to their “madness” differ? The last
time Ophelia is present is in Act 4, Scene 5, and
she seems dramatically changed. Do you believe
Ophelia has truly gone mad? The characters allege
that she committed suicide. How do the
ambiguous circumstances of her death affect our
perception of Ophelia?
SHAKESPEARE FUN FACTS
Hamlet exhibits ideals appropriate to its time during
the Renaissance, an age of rebirth of classical Greek
philosophy. Hamlet's famous "To be or not to be"
speech and other of his quotes like "there is neither
good nor bad but thinking makes it so" and "'Seems,'
madam? Nay, I know not 'seems...'" contain the seeds
of existentialism, a philosophy which examines the
nature of man’s relationship to the universe. Hamlet
poses many questions that people still struggle with
today.
HAMLET, ACTING,
& THE NATURE OF THEATRE
IMAGINE...
Your father, the King of Denmark, just died at the hands of your uncle. Your uncle Claudius has
married your mother. To top it off, you have been denied the Danish crown by your usurping
uncle. Your father‟s ghost demands you avenge his death by killing Claudius, yet you are not
completely sure whether or not this wandering spirit is to be trusted. After all, how can you be
sure the ghost is telling the truth? How can you prove your uncle is the murderer? Even if he is,
how are you supposed to go about assassinating the King of Denmark? How would you explain
yourself afterward?
This is the predicament that leads Prince Hamlet to call upon the theatre as an arena of truth
telling. At the end of Act II, Hamlet decides to write and produce a play reenacting his father‟s
murder for King Claudius and the court hoping that Claudius‟s response to the play will prove
his guilt.
THE NATURE OF THEATRE
This play-within-a-play device reveals something about the nature or theatre. With it,
Shakespeare suggests that the theatre is not merely a place for us
just to be amused or entertained—though these are the outward
“…the purpose of
goals. Rather, the theatre is also a place where we are exposed to
playing, whose end,
our own humanity, where we may look into a mirror image and
discover a truth about ourselves. As Hamlet puts it, “…the purpose of both at the first and
now, was and is to
playing, whose end, both at the first and now, was and is to hold as
hold as „twere the
„twere the mirror up to nature, to show virtue her own feature,
scorn her own image, and the very age and body of the time his form mirror up to nature, to
show virtue her own
and pressure.”
feature, scorn her own
image, and the very
Theatre, or the putting on of a play, allows us to see things within
age and body of the
ourselves we might not believe otherwise. Theatre causes us to
question our own actions and motivations by seeing the results of the time his form and
pressure. “
actions of the characters onstage. Shakespeare‟s play-within-theplay calls attention to this aspect of theatre by making us realize we
Act III, Scene 1
are watching a play ourselves, a technique called metatheatre.
THE NATURE OF ACTING
Hamlet takes his players aside in Act III, Scene 2 and implores them to be honest: “Speak the
speech, I pray you, as I pronounced it to you—trippingly on the tongue…” In other words, an
actor‟s job in this indirect communication is to convincingly play natural life on the stage.
Though the actors receive lines and stage directions from playwrights and directors, ultimately
the actors‟ choices and the actors‟ portrayals will be what the audiences sees. The playwright‟s
message rests in the hands of the actors. Actors therefore must be true to life and true to
character, playing their given roles strongly and effectively.
Hamlet is something of an actor himself. As the actors can not
shout their lines at the tops of their voices or move about the stage
with no reason, so Hamlet must not be too exaggerated in his
portrayal of madness and or to overt in his pursuit of Claudius. If the
actors are too weak or subtle, the “mirror image of nature” will be
lost in the muddled performance. Similarly, if Hamlet is not bold in
his actions, his father‟s ghost will remain vengeful and restless.
“Speak the speech,
I pray you, as I
pronounced it to you—
trippingly on the
tongue…”
Act III, Scene 2
SEEMING vs. BEING
The link between artifice and truth, performance and life, seeming and being is a recurrent
theme throughout Hamlet. Hamlet finds himself caught in a conflict between seeming and
being—how can he know which is which? Some may seem honest, but be corrupt. Friends may
seem loyal, but be traitors. His beloved may seem innocent, but be at fault. The ghost may
seem harmless, but be evil. For Hamlet himself, vengeance may seem righteous, but be
damning.
Shakespeare uses metatheatre to point out the universality of this issue. Hamlet gives great
acting advice to the players, but fails when called upon to act himself. We as the audience
watch the drama of deception and revenge develop on stage, and are in turn led to question
ourselves and our own motives.
SHAKESPEARE FUN FACTS
Hamnet was Shakespeare's only son. Hamnet's name
could have been the inspiration for the name of the
character in The Tragedy of Hamlet, Prince of Denmark; Hamnet died at age eleven, and four years
later Shakespeare made a shift from writing comedies and histories towards tragedies like Julius Caesar and Hamlet.
TO DO BEFORE THE PLAY
Before you see the play, take a look at topics below. Consider these questions and issues as
you watch the play, then be sure to discuss them again afterward. Teachers can also use
section of the study guide in the classroom.
EXPLORING RELIGION
Do some research on the Protestant Reformation. How did it influence the religious ideals of
life and death for the citizens of England? For example, if a person was a Protestant, what
would the appearance of a ghost mean? Likewise, what would it mean if he was Catholic?
Who was in control of the government? What were general beliefs about morality and death?
How do the characters reflect the beliefs of the time? Does Hamlet automatically accept that
the ghost is his father? What are some other explanations for the supernatural appearance?
How do the actions/words of some of the characters go against the beliefs that they express?
Do they ever preach one thing only to do another later? Does religion add further ambiguity to
the play or does it bring a sense of understanding to the confusion?
EXPLORING REVENGE
Hamlet is the most famous revenge tragedy. Research what makes a story a revenge tragedy.
What events, emotions, or characteristics you would expect to find in the plot or characters
themselves.
What might be the moral implications of revenge, especially in this time period? Does revenge
ever end? What are its consequences to the revenge seeker and his loved ones? Would there
ever be a legitimate reason to seek revenge? What drives Hamlet and Laertes to seek
revenge? Are their reasons acceptable? What other forms of justice could they have pursued
instead of revenge?
DEFINING MADNESS
Can you think of some stereotypical signs of madness in real life and in the world of the play?
How does madness in Shakespeare look different than madness in real life?
Many of the characters in Hamlet think that both Hamlet and Ophelia became insane. Why do
they think that? Did either one of them truly go mad, or could they merely be acting the part?
Why do you think so?
How does our culture today treat and look at those that are mad? Do the people in the play
treat them differently? What could cause someone to go mad? List the reasons Hamlet and
Ophelia may have been driven insane and discuss how those reasons would have led to that
madness. Watch carefully for signs of insanity (or pretended insanity?) in the production.
TO DO AFTER THE PLAY
THE MANY VOICES OF HAMLET
Hamlet was originally written and published by William Shakespeare in the early seventeenth
century in a language known as Early Modern English. In the last 400 years that Hamlet has
been around, the play has been reproduced and retranslated into many different forms and
languages. For this assignment, you and a partner will read through the version of Hamlet done
by Sarah Schmelling and then take one scene from Hamlet and remake it by “translating” it into
a new language!
WHAT TO DO:
1. Go to <http://www.mcsweeneys.net/2008/7/30schmelling.html> and read Hamlet:
Facebook News Feed Edition by Sarah Schmelling.
2. Select a scene from Hamlet for you and your partner to “translate”.
3.
On a separate sheet of paper, write down key lines/ interactions from the scene that you
want to make sure you include in your rewritten scene.
4. With your partner, rewrite your scene in the new language you‟ve chosen. Be creative!
POSSIBLE SUGGESTIONS:
pirate talk
a rap song
New York cabby
Canadian mountain man
TEXT speak
“Modern” English
Old West Hamlet
Use your imagination and have fun!
ADDITIONAL RESOURCES
FREEING SHAKESPEARE‟S VOICE
Linklater begins this book with exercises designed to rid the reader of long-held beliefs about
Shakespeare‟s language and to allow an emotional connection to his writing. She then analyzes
how Shakespeare‟s use of figures of speech, iambic pentameter, rhyme, and other literary
techniques contribute to his characters, stories, and meaning.
Linklater, Kristin. Freeing Shakespeare's Voice: the Actor's Guide to Talking the Text. New York,
NY: Theatre Communications Group, 2006
A STUDENT‟S GUIDE TO WILLIAM SHAKESPEARE
This book is divided into two segments. The first provides a concise overview of Shakespeare‟s
life and career, while the second takes an in depth look at several of the plays, including Romeo
and Juliet, A Midsummer Night’s Dream, Julius Caesar, and Hamlet. It includes several works of
literary criticism written with students in mind, and is useful for research projects.
Mittelstaedt, Walt. A Student's Guide to William Shakespeare. Berkeley Heights, NJ: Enslow,
2005
THE BEDFORD COMPANION TO SHAKESPEARE
The Bedford Companion is a condensed formatted critical assessment of Shakespeare's life and
times. It focuses primarily on the historical and political context of the Bard‟s life and includes
documents and critical essays on Shakespeare's work.
McDonald, Russ. The Bedford Companion to Shakespeare: an Introduction with Documents.
Boston: Bedford/St. Martin's, 2001
SHAKESPEARE IS HARD BUT SO IS LIFE
Fintan O‟Tool believes that the many prejudices and stereotypes regarding Shakespeare have
made it difficult for new readers to understand the plays. Aimed at older students, this book
takes a look at some of the more complex questions of Shakespeare‟s tragedies, such as whether
Hamlet‟s insanity is real or faked, in enjoyable, easily understandable language.
O'Toole, Fintan. Shakespeare Is Hard, but so Is Life: a Radical Guide to Shakespearean Tragedy.
London: Granta, 2002
SHAKESPEARE: HIS WORLD AND HIS WORKS
In this book, Rosen, introduces the reader to the world in which Shakespeare lived and wrote his
plays. Shakespeare: His World and His Works places Shakespeare‟s plays in a historical context,
as well as closely examining several of the plays (though not Hamlet). Rosen also examines what
it is that makes Shakespeare so Important that we still read about him four hundred years later.
Rosen, Michael. Shakespeare: His Work and His World. Cambridge, MA: Candlewick, 2001
SHAKING HANDS WITH SHAKESPEARE
Shaking Hands with Shakespeare: a Teenager’s Guide to Reading and Performing the Bard
provides helpful tips for understanding Shakespeare‟s sometimes difficult to decipher language.
It also examines the way the plays would have been performed in Shakespeare‟s era, how the
way they have been performed has changed over time, and how understanding the performance
can help the reader understand the meaning of the play.
Schumacher, Allison Wedell. Shaking Hands with Shakespeare: [a Teenager's Guide to Reading
and Performing the Bard]. New York [u.a.: Simon & Schuster, 2004.
FOLGER SHAKESPEARE LIBRARY ONLINE
The Folger Library, located in Washington, D.C., is the world‟s largest collection of materials
related to Shakespeare and the Renaissance. The online library contains highlights from the
collection, articles on Shakespeare‟s life, works, and times, access to several Shakespearerelated publications, and multi-media learning materials, including a youtube channel. Be sure
to check out the digital image collection to see thousands of rare documents, including firstedition copies of the plays, letters hand-written by Queen Elizabeth, and much more.
Folger Shakespeare Library. Web. <http://www.folger.edu
THE USBOURNE INTERNET-LINKED WORLD OF SHAKESPEARE
An excellent introduction to the works of Shakespeare, the Usborne World of Shakespeare
guides students through the language and themes of the plays, and also provides a helpful synopsis, who‟s who, and glossary for each play. The most recent edition also includes over fifty
internet links for further reading and research.
Claybourne, Anna, Rebecca Treays, Felicity Brooks, David Cuzik, and Cecco Mariniello. The Usborne Internet-linked World of Shakespeare. Tulsa, OK: EDC Pub., 2001.
THE ARKANSAS REPERTORY
THEATRE
OUR STORY
Founded in 1976 and enjoying its thirty-fourth season, Arkansas Repertory Theatre is
the state‟s largest non-profit professional theatre company. A member of the League of
Resident Theatres (LORT D), The Rep has produced more than 280 productions including
forty world premieres on its 354-seat MainStage and 99-seat black box SecondStage located in its historic building in downtown Little Rock. Robert Hupp, Producing Artistic
Director since 1999 when founder Cliff Fannin Baker retired, leads staff, artists and a
twenty-eight member Board of Directors, who serve as ambassadors to the community
and govern The Rep‟s fiduciary growth and operations. With an operating budget of $3.1
million, The Rep relies on season subscriptions, special events, foundation support, corporate and individual donations, and National Endowment for the Arts and Arkansas Arts
Council funding.
With a staff of 33 including resident
designers, technicians and administrators, The Rep also employs guest artists from across the country to produce
works—created, rehearsed and built in
downtown Little Rock—that range from
contemporary comedies and dramas to
world premieres to the classics of dramatic literature. The Rep‟s auxiliary
groups, Friends of The Rep and Young
Professionals, contribute time and energy to support the theatre through
ushering, fundraisers, and organized
events to bring new people into The Rep. In addition to the more than 70,000-100,000
patrons who experience The Rep‟s work annually, community support includes more
than 400 volunteers who usher for The Rep‟s productions. The Rep also frequently engages in co-productions with other regional theatres and such local organizations as the
Arkansas Symphony Orchestra and Wildwood Park for the Performing Arts.
Educational and outreach programming has been integral to The Rep‟s mission throughout its 33-year history. Through statewide educational tours, a MainStage student matinee series, an apprenticeship program, residencies, workshops, the Summer Theatre Musical Intensive which brings young artists together for two-week sessions culminating in
musical theatre performances on the Rep‟s MainStage, cross-curricular study guides, and
artist-to-student mentoring in workshops and arts-intensive residencies, the components
of The Rep‟s outreach supplement and augment the students‟ standard curriculum and
offer experiences that enhance creativity and the overall learning experience.
OUR MISSION
Arkansas Repertory Theatre exists to create a diverse body of theatrical work of the
highest artistic standards. With a focus on dramatic storytelling that illuminates the
human journey, The Rep entertains, engages and enriches local and regional audiences
of all ages and backgrounds.
CONTACT INFORMATION
For questions or comments concerning this production of Evita or the Arkansas
Repertory Theatre, contact our offices at (501)378-0445. Additional information may
also be found at www.therep.org. The Box Office may be reached at 1-866-6THEREP.
This study guide was created collaboratively by the students of Dr. Paige Reynolds‟s
English 4330: Shakespeare I course, offered by the English Department of the University
of Central Arkansas.