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School Resources
Hamlet teachers` notes
Contents
1
Preparing your students
4
2
The playwright
5
2.1
3.
4
5
6
7
Activity
Synopsis
5
7
3.1.
Act I
7
3.2.
Act II
7
3.3.
Act III
7
3.4.
Act IV
7
3.5.
Act V
7
3.6.
Activity
8
Characters/relationships
9
4.1
Discussion
9
4.2
Activity
9
Themes
11
5.1
Death
11
5.2
Revenge
11
5.3
Discussion point
11
5.4
Research point
11
5.5
Inevitability
11
5.6
Natural order
12
5.7
Teen angst
12
5.8
Questioning of death
12
5.9
Love
12
5.10
Activity
12
5.11
Class issues
13
Important symbols
14
6.1
Yorick’s Skull
14
6.2
Flowers
14
6.3
The murder of Gonzago
14
6.4
Activities
14
Language
7.1
Activities
15
15
7.2
8
16
History- the Globe Theatre
8.1
9
Activity
Discussion
17
17
Shakespeare in Queens Park- a unique production process
18
9.1
Jamie Tanner- lighting designer
18
9.2
Carolyn Taylor Smith- wardrobe supervisor
18
9.3
Cheryl Kanowski- platform performance co-ordinator
18
9.4
Discussion
19
9.5
Activity
19
10 Life imitating art?
10.1
Activities
20
20
11 Additional resources and references
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3
1 Preparing your students
We hope that you will enjoy and value the performance of Hamlet: Shakespeare in Queens Park. It
is important that supervising teachers are seated amongst their group, so that they can view both
the performance and the student audience, as students often look to staff for appropriate
responses. Prior to the performance teachers' assistance is needed so students arrive:
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with an awareness of the program's content;
with a willingness to enjoy the performance and to concentrate on absorbing;
the ideas being presented;
ready to understand the art form used to communicate ideas; and
prepared to accept the performer's interpretation of the material being presented.
Each performance will be unique to the dynamics of the audience directly impacting on the quality of
the performance. By taking note of the following points, you will ensure that your class and the rest
of the audience will enjoy the performance:
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
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minimal talk or unnecessary movement in the audience;
photography and video recording of the performance is not permitted; and
alarms, beeping watches, pagers, mobile phones should be turned off.
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2 The playwright
Did a ‘genius' poet and playwright by the name of William Shakespeare really exist? Given the
sparse recorded history on his life, this question lingers in the minds of some. Much of
Shakespeare's story is devised from baptism, death, property and court records of London and
Stratford. The man himself has left no personal accounts only the connected histories of relatives,
friends and fellow players and writers leave us clues.
Baptised on April 26 1564, 'William Shakespere' (as Stratford parish documents name him) may
have been born up to three days previously. First son to John and Mary (nee Arden) Shakespeare,
William was the third child of eight. His two older sisters died during infancy yet he survived the
plague that stuck around the time of his birth. It is thought the boy would have attended King's New
School in Stratford, as his father was well respected as a local government member during this time.
Perhaps here, in school plays along with the observance of medieval ‘miracle' plays in the
town streets and inns, the young Will discovered his theatrical tendencies. Chances of a university
education were lost in 1582 when he married 26 year old Anne Hathaway to which daughter
Susanna was born only 6 months later. Following the baptism of his twin children Hamnet and
Judeth on 2 January 1585, the next seven years of William's life remain a mystery with no activity
recorded. Whatever he did during this time saw the man find reason to depart from his wife and
children in Stratford and make significant progress in launching the profession he is known for.
Following these ‘lost years' Shakespeare appears in London where his career as a poet
surfaces. In 1592 Robert Green, a jealous writer, claimed the success of an unnamed player
(believed to be Shakespeare) was because he had been ‘beautified by our feathers'. He also
rather infamously labelled Shakespeare an 'an upstart crow'. It is from Green's reference that we
know Shakespeare had been in London for some time. Today Shakespeare is given much praise
and is a celebrated writer. In his day however, there were equally as popular artists whom people
flocked to see including Richard Burbage and Ben Jonson. Many of the main characters in Will's
plays appear to have been written with particular actors in mind. It is difficult to nominate specific
dates and the order in which the 37 plays and 160 sonnets and poems credited to him were written.
His first publications were the poems Venus and Adonis and The Rape of Lucree (1593). Hamlet
makes reference to the ‘war of the theatres' where boy players rather than men were
popular, indicating it was written around 1601. The suicide of Shakespeare's cousin, persecuted for
Catholicism could explain the religious implications and espionage found in the play. However, with
no copyright laws prevailing, it is likely Shakespeare's Hamlet is a rewritten version of a lost play of
the same name by Thomas Kyd. Also, it appears to be based on a Nordic legend Historia Danica by
Saxo Grammaticus in the 12th century. Evidently, Shakespeare was influenced by the works of
other writers from various cultures in Europe.
As part of The Lord Chamberlain's company of players including actors Richard Burbage and
William Kemp, Shakespeare performed for Queen Elizabeth in 1594. The sons of James Burbage
built the Globe theatre five years later which became the home and wealth of this same company.
William's career peaked in 1603 when King James employed the players and the company was
renamed the ‘King's Men'. By 1611 he returned to his family in Stratford completing the last
of his plays The Tempest and Henry VIII. On 25 April 1616, William Shakespeare was buried aged
fifty-two with a lasting inscription on his stone:
Good friend for Jesus sake forbear
To dig the dust enclosed here!
Blest be the man that spares these stones,
And curst be he that moves my bones.
In 1623, seven years after Shakespeare's death, fellow actors John Heminge and Henry Condell
published the First Folio containing the works of this extraordinary writer.
2.1 Activity
While there are a lot of unknown details about Shakespeare's life, several assumptions can be
made by looking at Elizabethan history and ‘filling in the gaps'. Watch the film Shakespeare
in Love and have the class discuss what would be credibly depicted about his life while what is pure
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‘fairy tale'. Discuss using other historical information from websites, whether this film is a
reliable source from which to learn about Shakespeare.
Some websites regarding the life of Shakespeare you might like to visit are:
http://www.shakespeare-online.com/biography/
http://web.uvic.ca/shakespeare/Library/SLT/intro/introsubj.html
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3. Synopsis
3.1.Act I
Prince Hamlet of Denmark returns to his torn nation and finds his anguish deepened by the
remarriage of his mother, Queen Gertrude. His uncle, Claudius, now sits upon the throne, presiding
over a country in fear of invasion.
Hamlet's love, Ophelia, awaits the return of her Prince, despite the strong doubts of her father and
brother, Polonius and Laertes.
Hamlet's comrade, Horatio exposes the young Prince to a world of uncertainty when the ghost of his
father appears to reveal his murderer. Hamlet now faces his biggest ever challenge – to avenge the
murder of his father by killing his uncle, the King.
3.2.Act II
The Palace is trembling with assumptions of insanity, when Hamlet's behaviour becomes
increasingly erratic. In a bid to find the cause of this, King Claudius and Queen Gertrude send
friends of Hamlet to spy on him and discover the truth.
Hamlet is tortured by the visitation of his father's ghost, but does not reveal this to his friends as he
discovers the purpose of their visit. Queen Gertrude comes to understand that it was her premature
remarriage that has caused his behaviour, unaware of the deadly truth.
3.3.Act III
As Hamlet continues his search for the truth, his love for Ophelia is shattered. He has developed
disillusionment with women as a result of his mother's actions and refuses to overcome it.
Tormented and torn apart, Hamlet and Ophelia's love lies victim to the consequences of the political
struggle at hand.
Hamlet, consumed by his promise for vengeance, devises a plan to "catch the conscience of the
King" (II.ii.606-607). He employs a travelling theatre troupe to re-enact the former King's murder, a
task that would see Claudius incriminated.
In this time of great upheaval Polonius, advisor to the King, is mistakenly slayed. Hamlet's fate is
now sealed, this recent killing appearing as evidence of his madness.
3.4.Act IV
Now exiled by Claudius for Polonius' murder, Hamlet is sent to England to deliver his own letter of
execution. True to his promise, however, he escapes and returns to his homeland. His bitter
struggle of honour and truth continues as he returns to carry out his mortal task.
All is not right with the Kingdom when he returns, as Hamlet discovers that much has
changed. Ophelia, driven to madness by the death of her father and Hamlet's absence, drowns
herself in a nearby river. Laertes, seeking to avenge Polonius' death has also sided with the
murderous King in an attempt to destroy Hamlet.
3.5.Act V
Learning of Ophelia's death Hamlet is overcome with grief, now feeling that he holds nothing to
lose. The Prince's mission has seen him become preoccupied with death. This current state is
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fuelled further by the discovery of Yorick, his former Jester's, skull. Reinforcing the inevitability of
death, Hamlet draws upon this notion for reassurance.
Hamlet is now certain of what he must do, the Prince striving to reveal the truth and ultimately to do
what is right. Fury breaks loose when his return is discovered. Hamlet and Laertes find themselves
in a swordfight with poison laced blades, the Queen mistakenly drinks a toast of poison to her son,
and the King is exposed for the murderer that he is. In this time Hamlet sees his haunting debate
between life and death put to the ultimate test, as the leaders of the Kingdom all find themselves
slain.
Link to play script in entirety:
http://the-tech.mit.edu/Shakespeare/hamlet/
3.6.Activity
1. In groups have students choose a scene to work with. Ask the students to create a oneminute 'dumb show' for presentation to the class. See if the audience can identify what is
happening, and what characters are being portrayed. (A 'dumb show' is a mimed preview of
what is to come in the feature play. These were often seen before a traditional Shakespeare
play.)
2. In groups create a series of four to six freeze frames that represent any major events in the
play. This will help to assess students' comprehension of what they have learnt.
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4 Characters/relationships
When studying Hamlet students will discover that the relationships between the characters can be
complicated and confusing. With each production of the play, the director must decide how each
character is interpreted. It is important to remember there are no ‘right' or ‘wrong' explanations. The
following notes lend a few thoughts on some facets of Hamlet's and Ophelia's relationships with
other characters.
Hamlet, the central character (played by Daniel White) is the most explored yet it is difficult to
determine his true feelings towards other figures in his life. It is obvious that he holds disgust and
loathing for Claudius, his uncle who has murdered his father and married his mother. Finding the
King in prayer, Hamlet delays his murder due to the superstition that Claudius will go straight to
heaven rather than suffer the torture of hell. As Claudius plots against Hamlet, all words of kindness
towards the prince are only attempts to deceive. In the line of fire is Gertrude who remains blind to
the truth of the situation. Her belief that Hamlet is mad due to "His father's death, and our o'erhasty
marriage" (Act 2 scene 2: line 57) is rather easily altered by influential Polonius who reports on the
sadness brought by Ophelia's dismissal of the young man's love tokens and messages. Hamlet's
attitude towards his mother and Ophelia is not so black and white. The ‘love tokens' that Ophelia
attempts to give back to Hamlet are suggestions of a past attraction to each other. Whether or not
this attraction still exists for Hamlet is subject to controversy.
Ophelia has a very connected relationship to her father and brother. These male figures have a lot
of control over her, which she allows. You'll note in the play that Ophelia obeys all that Polonius
asks of her including the withdrawal of her involvement with Hamlet. They advise her that his
confessions of love to her are merely words of youth with no lasting substance. Despite being
warned, the distress Ophelia feels over Hamlet's denial of his affection and his decline into madness
is not evaded. The loss of his love continues to be destructive as it means she will remain under the
control of her father and chances of becoming future Queen are unable to be fulfilled. The teen then
deals with the murder of her father which sees her submit into deep depression entering a state of
‘madness'.
4.1
Discussion
1. Are Hamlet's harsh words toward Ophelia during the first scene of act three attempts to
conceal his love? Is he ‘mad' or acting so, consider whether he is aware of being watched
by Gertrude, Claudius and Polonius? Is his slander toward women attributed only to
Ophelia's denial of love (as instructed by her father and brother) or is there a sense that
there is resentment held toward Gertrude?
2. In the Elizabethan age, while woman were not allowed to attend school or vote, they were
generally respected citizens and most urged to fulfil their role as the ‘child bearer'. Women
born into royalty were the only class that was permitted to heir their father's title. Discuss
what implications this society had on Ophelia's sense of self-worth considering her
relationship with Hamlet.
3. Daniel White plays Hamlet in USQ's production. How has he interpreted this character and
how does this effect Hamlet's relationship with other characters? Put yourself in Hamlet's
shoes . . . what would you have done . . . do you believe Daniel's portrayal to be genuine? Is
Hamlet a character that modern young men (or just young people in general) can relate to
easily?
4.2
Activity
1. Polonius and Laertes both speak to Ophelia about her relationship with Hamlet in Act 1
Scene 3. Read through the scene and note how Ophelia answers to each her father and
brother. As a teenager, report on how you would feel if you were ‘lectured' in such a way. In
groups of 3 take a character each and improvise the scene, translating the dialogue into
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your own words.
2. For each major character of the play create a chart with three columns. The first column
should be the names of other characters. The second should be titled ‘Attitudes and
Relationships' and the third should be labelled ‘Quote'. Have students complete the charts,
with the second columns being filled with the attitudes and relationships of the selected
character to others, and the ‘Quotes' column being filled with a quote from the play that
encapsulates their relationship or characterisation (hint: look to see what characters say
about each other).
Links:
http://www.enotes.com/hamlet/
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5 Themes
There are several themes explored within the play including many death related notions, teen angst
and class issues. The major symbolism that appears will also be examined here.
5.1
Death
Death appears in the play as a main theme, and takes on many different forms. Closer exploration
reveals various forms of this, the most significant of which will be discussed here.
5.2
Revenge
The notion of avenging the wrongful killing of another was one commonly recognised in Elizabethan
times and Hamlet takes this concept to extremes. Hamlet must seek vengeance for his father's
murder. This becomes his sole purpose and he seems to forget all other aspects of his life, even his
love for Ophelia. His actions become inconsequential to him, even though they mean the ruining of
his own life. During his quest for revenge, he accidentally murders his lover's father, Polonius,
sparking Polonius' son Laertes to seek vengeance against him. A circle of retribution with Laertes
begins, as he teams-up with Claudius to avenge Polonius and Ophelia while Claudius is also
anxious to be rid of the melancholy Prince. In essence, where do the killings end? If for every
murder there must be a retaliatory killing, the vicious circle would never end. This is a notion that
Shakespeare may have been commenting upon in the writing of Hamlet.
5.3
Discussion point
Shakespeare's Hamlet addresses the idea of revenge killings. If for every murder, there must be
retaliation, the killings would never end. Think about this in terms of today's society. Discuss any
situations in which this notion arises, such as in international relations and domestic life.
5.4
Research point
Undertake a research project looking at the intertwining of honour and revenge. Compare this to
today's society. Has the nature of revenge changed or have the ways in which we seek revenge
merely adapted to life today?
5.5
Inevitability
Hamlet's quest sees him become very interested in death. He ponders the fact that every living
being dies, even great Kings.
King: "Now, Hamlet, where's Polonius?"
Hamlet: "At supper."
King: "At supper, where?"
Hamlet: "Not where he eats, but where he is eaten: a certain convocation of politic worms are e'en
at him. Your Worm is your only emperor for diet: we fat all creatures else fat to us, and we fat
ourselves for maggots: Your fat king and your lean beggar is but variable service, two dishes, but to
one table: that's the end."
King: "Alas, alas!"
Hamlet: "A man may fish with the worm that hath eat of a king, and eat of the fish that hath fed of
that worm." (IV.iii.17-29).
This section of text is interesting in that it clearly reveals Hamlet's thoughts regarding death, which is
essentially a ‘circle of life' theory. This also indicates the popular Elizabethan belief that death was a
great leveller and all shall be judged alike in their own time.
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5.6
Natural order
When viewing the play, it is interesting to note that every death that takes place is of unnatural origin
(except for that perhaps of the jester, Yorik, many years previous). We see deaths of poisoning,
murder, injury, execution and suicide. This coincides with the view of righting the natural order. As
the Kingdom of Denmark is being ruled by this government that was not truly appointed, chaos
ensues and each one of the ‘unnatural' or ‘morally corrupt' players are killed. By this, the ‘diseased
nation' will once again return to health.
5.7
Teen angst
One of the reasons that Shakespeare remains so popular, even in today's modern world, is that it
holds universal themes. Teen angst is as recognised now, if not more so, as it was in Elizabethan
times. Two main issues that are dealt with in regard to what teens undergo in everyday life are
questioning of death, and love.
5.8
Questioning of death
The pondering of death usually comes during the teen years, as teens become less certain of their
own mortality and that of the people that they love. Hamlet faces both of these when he loses his
father. He realises that life does not last forever, prompting questions of his own death. As do most
teens, Hamlet thinks about suicide, contemplating whether it could be justified as legitimate in such
a miserable world. He is however, afraid of what lies beyond life, as are many who are in the same
situation. A most famous soliloquy voices these thoughts:
Hamlet: "To be or not to be: that is the question:
Whether ‘t is 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:"…
…"To sleep: perchance to dream: ay, there's the Rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause."(III.i.56-)
Here Hamlet shows his dilemma, and gives audiences a confronting view of what goes through the
mind of a teen in anguish.
5.9 Love
For as long as human kind have existed so too have the troubles of love, for love can so easily turn
to hate which can be just as passionate. This is especially intensified around the teenage years, as
youth begin to search for their love and encounter difficulties of the heart. Hamlet is seen to go
through these same trials as his love for Ophelia is put to the test. Unfortunately their feelings for
each other are dulled by Hamlet's disillusionment with women-kind, as a result of his mother's
indiscretions. Ophelia is destroyed by her loss of Hamlet and essentially the future throne, driven by
madness to suicide. Hamlet must now deal with another loss, that of his love. A classic story of
unrequited love, Hamlet realises what everyday teenagers go through, though perhaps in a slightly
more dramatic way!
5.10 Activity
Find in the play words of love between Hamlet and Ophelia and then find words of hatred or
indifference expressed to each other. Compare the passion of the statements and try to decipher
the motivation the characters must have to clearly communicate them to the audience.
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Love is a very powerful emotion. Go through the play text and source words or moments that
encapsulate the intense nature of love. Place these on separate pieces of paper, place in a hat, then
draw one out and embody/physicalise what is written by creating a movement, freeze frame etc.
5.11 Class issues
Hamlet gives a portrayal of ‘life at court', the elite of society at that time in history. William
Shakespeare portrayed these people as he was well acquainted with them and could thus, comment
upon such behaviours (ever-so-carefully!). Hamlet sees the downfall of characters Hamlet and
Ophelia, partially as a result of the expectations of their social class. Polonius is present in the
Queen's room discussing Hamlet's indecorous behaviour (seen to be mad, according to their social
group) when Hamlet accidentally slays him. In turn this sees Laertes come after Hamlet, in a bid to
avenge his father's death. This was essentially brought about by his original mission – to discuss
Hamlet's failure to meet social standards.
Ophelia becomes victim to her class in several ways, firstly being forced by her father Polonius into
love for Hamlet as a means of gaining the throne. Her failure to achieve this partially leads her to the
riverbank, where she will commit suicide. The second influence of her social class is more symbolic,
but does in essence kill her. Women of the times were expected to wear layer-upon-layer of heavily
weighted fabric to cover themselves in a bid for aesthetic beauty. As Ophelia hurls herself into the
river below, it is the heavy weight of her garments (expectations of her class) that drag her down
and drowns her. In this way, she too becomes a victim to the social class standards of her time.
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6 Important symbols
Though not a heavily symbolic play, in terms of physical representation, there are several which
appear as vital to the play.
6.1
Yorick’s Skull
Found in the graveyard, Yorick's (the former Jester of the Court) skull serves as the main symbol of
the play and is an image that people often immediately associate with the production of Hamlet. The
skull is a reminder of death, a symbol of the physical breakdown after death and a sign that death is
inevitable to all. Hamlet comes across the skull, fuelling his fascination with the consequences of
death – final and physical. He speaks to the skull to reveal an insight into this enthralment:
"Get you to my lady's chamber, and tell her, let her paint an inch thick, to this favor
she must come" (V.i.178–179) – this tells of how no-one can avoid death.
"Here hung those lips that I have kissed I know not how oft," (V.i.174–175) – this
sheds light on his obvious interest in the bodily decomposition subsequent to death.
6.2
Flowers
The flowers given by Ophelia to others serve to symbolize elements of her lost love. In her
disillusionment she believes that the weeds she holds are vibrant flowers of rosemary, pansies,
daisies, fennel, columbines and rue. In reality, the flowers are dead weeds which symbolically
display Ophelia and Hamlet's extinguished love. She maintains that the rosemary and pansies
represent remembrance and thoughts of love.
6.3
The murder of Gonzago
The play-within-a-play, The Murder of Gonzago, is significant in that it represents the murder of the
King. Also, it is the play that confirms Hamlet's suspicion towards King Claudius and sees his
eventual downfall.
"The play's the thing, wherein I'll catch the conscience of the King" (II.ii.606-07).
6.4
Activities
1. Symbols are important to drama as they add meaning. Make a list of objects that are
recognised as having strong symbolic value. Incorporate them into a dramatic
representation of a scene from Hamlet. How do they enhance/detract from the overall
meaning of the scene.*Note – This has been adapted from an activity in Haseman and
O'Toole's Dramawise.
2. Change the symbolic meaning of Yorick's skull in Hamlet. If it no longer symbolises Death,
is the dramatic meaning still present? Is it reduced? This activity serves to show students
just how powerful symbols can be in the creation of a dramatic piece. You could take this
further and get them to replace the skull with another object – such as an oversized banana,
soft toy, phone etc.
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7 Language
The language used in Shakespeare's plays is obviously quite different to our modern usage. Typical
of Elizabethan times, the dialogue used would have accurately reflected everyday language, though
used in a more poetic and lyrical style. It is important to realize that the majority of the audience was
illiterate and poor, therefore Shakespeare is not intended to be an exclusive form of 'high art'. His
plays were enjoyed by people from the lowest to the highest echelons of society. Initially,
Shakespearean language can be a little hard to grasp. Keep in mind though that this was destined
to be performed and not judged as a literary contribution. When spoken on stage, much expression
and action aids in determining the meaning of what is said. The language is a visual one where
every word and phrase creates an image for the reader to understand the concept. Once you gain
the knack of understanding Shakespeare it appears before you as a language rich with imagery and
poetics.
Middle English language can be discouraging for some and you'll find students who will get too
bogged down trying to understand one word rather than looking at a section as a whole. It will help if
they recognize that (not strictly but generally) the dialogue flows on a continuum where each thought
is linked to the last and the next. In soliloquies it can be found that the first line will give an indication
as to what thought the character will explore in the passage. Within the final lines is usually the
conclusion they come to. Also, when studying a play encourage students to read the
play first to get the general story line then a second time to look deeper into characters' motives,
themes or another element of the play that is being studied. Trying to grasp this thoroughly in one
reading is difficult.
7.1
Activities
1. Have students select a soliloquy (a monologue that expresses a characters thoughts eg
Hamlet's ‘To be or not to be…' [III.i.56-61]) and in groups of 2-4 determine what thought the
character explores (hint: look at the first lines). Ensure they discuss what ideas are held in
the passage and the conclusion made by the character. Then one student takes on the role
and under the direction of the others, act the part in a way that might suit.
2. Sometimes, we are able to quote famous lines without even knowing what they mean. This
can lead to inappropriate emphasis, overall confusion and boredom. For this reason, it is
essential that one becomes acquainted with the language of Shakespeare and the
meanings that lay behind what is being said.
3. Assign each group with a different quote, and ask them to discuss the meaning behind their
quote. Ask them also to determine a series of a few movements that could symbolise what
their quote means. Then run all movements in the order of the play.
Some of Hamlet's most famous quotes reveal much of what is happening in the play. Here are some
examples:
Queen: "Good Hamlet, cast thy nighted colour off,
And let thine eye look like a friend on Denmark.
Do not for ever with thy veiled lids
Seek for thy noble father in the dust:
Thou know'st ‘t is common; all that lives must die,
Passing through nature to eternity." (I.ii)
Rough Translation: "Stop looking so dismal. Look at Claudius (Denmark) as a friend. Everyone
must die, accept this."
Hamlet: "Heaven and earth!
Must I remember? Why, she would hang on him,
As if increase of appetite had grown
By what it fed on; and yet, within a month,
Let me not think on't: Frailty, thy name is woman!" (I.ii)
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Rough Translation: "Bloody Hell. I remember how in love with my father she was. It has only been
a month and look-remarried! Women are imperfect."
Laertes: "He may not, as unvalued persons do,
Carve for himself, for on his choices depends
The safety and the health of the whole state;
And therefore must his choice be circumscribed"(I.iii)
Rough Translation: "He can't make his own decisions because his choices decide the fate of
Denmark"
Ghost: "The serpent that did sting thy father's life
Now wears his crown" (I.v.)
Rough Translation: "Claudius killed me and wears my crown."
Hamlet: "Oh cursed spite!
That ever I was born to set it right" (I.v.187-188)
Rough Translation: "Damn, why does it have to be me to sort this out."
Hamlet: "The play's the thing,
Wherein I'll catch the conscience of the king" (II.ii.606-07).
Rough Translation: "This play will make the king feel guilty and expose him."
Hamlet: "To be or not to be: that is the question:
Whether ‘t is 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:" (III.i.56-61)
"To sleep: perchance to dream: ay, there's the Rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause."(III.i.65-69)
Rough Translation: "Should I live or die. Is it nobler to live through this torturous world or is it better
to kill myself. If I kill myself what happens next? There's the catch, what could happen next must
make us think twice."
Hamlet: "A man may fish with the worm that hath eat of a king, and eat of the fish that hath
fed of that worm" (IV.iii.17-29).
Rough Translation: "We are all alike in death- we are all worm food."
Horatio: "Good night, sweet Prince,
And flights of angels sing thee to thy rest" (V.ii.)
Rough Translation: "Goodbye Hamlet, may angels care for you in death".
7.2
Activity
Take a piece from Hamlet (one of the more humorous scenes would probably be fun) and get the
students in groups to transform the language in to modern tongue.
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8 History- the Globe Theatre
The Globe is known to be a theatre in which Shakespeare's plays were performed. Records reveal it
was burnt down in 1613 when a canon was used in a performance of Henry VIII. A second Globe
was soon built and continued to stand until 1642 when a puritan revolution saw all theatres in
London demolished.
8.1 Discussion
1. Examine the above picture. Consider how Hamlet may have been staged bearing in mind
that props and sets were very minimal. It's estimated that 2500-3000 rowdy people could
attend a performance which were held in the daylight hours of two and five o'clock. How
might this have affected a performance? Compare this to USQ's Shakespeare in Queens
Park. What elements of the performance would be different? Alike?
2. Watch a film version of Hamlet. How does the medium of film change the way in which the
play is recognised. What are advantages and disadvantages of both film and live
performance Shakespeare? Which do you personally prefer? Versions of Hamlet include:
Zeffirelli, F. (1991) – Hamlet, featuring Mel Gibson
Almereyda, M. (2000) – Hamlet, featuring Ethan Hawke
Olivier, L. (1948) – Hamlet, featuring Laurence Olivier
Brannagh, K (1996) – Hamlet, featuring Kenneth Brannagh
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9 Shakespeare in Queens Park- a unique production process
The USQ Performance Centre is proud to present Toowoomba with their production of Hamlet. Set
within the environment of Queen's Park under its grand Camphor Laurel trees, this event is made
more spectacular by the involvement of community groups and schools. Much time and effort has
been placed to produce this show and hundreds of dedicated paid and voluntary personnel have
collaborated to make Shakespeare in Queens Park a success. The performance that Toowoomba
will be presented with has needed the expertise of industry specialists including:
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Director;
Stage Manager and Deputy Stage Manager;
Backstage crew;
Actors and performers;
Publicity and Marketing staff;
Box Office and Front-of-House staff;
Costume, Lighting and Set Designers;
Technical staff including welders and carpenters;
Dramaturges;
Sound, board and dome operators; and
Administration and financial coordinators.
This list is by no means exhaustive and there are many other roles that have been facilitated since
pre-production commenced (over six months previously). To give some idea about how much work
is involved in putting on a production of this scale the following questions were asked of some key
personnel:
9.1
Jamie Tanner- lighting designer
What considerations have you had to make for this show?
It has been a bit restrictive in that there are not a lot of really dramatic or special lighting effects that
can be done. You need to have the actors lit so they can be seen. Basic, sort of ambient light for
specific scenes to help create the atmosphere are required in the design.
How long have you been working on this show?
Well I came back (to uni) about a month before production week to get started, but on this particular
show because there are so many people involved and the large scale of this show, there had been a
lot of discussion about how much equipment and power will need to be used prior to my presence.
9.2
Carolyn Taylor Smith- wardrobe supervisor
What is your position on this show?
I am costume maker slash wardrobe supervisor.
What is your role during performances?
I maintain, mend and launder the costumes.
Is there a theme that you're trying to develop through costume?
The world that is being captured is a fantasy one and the costumes are trying to reflect that. They
also reflect the characters.
9.3
Cheryl Kanowski- platform performance co-ordinator
What does your role involve?
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When they (production team) decided to involve the community in late November I was designated
as a contact person for the community and school groups. I'm the liaison that connects and informs
the community about the project. I schedule all of Alethea's (Platform Performance Director) times
with working with the various community groups. I also find particular groups she would like, for
example she wants me to find a didgeridoo player. As the performance date gets closer I become
the first point of contact for the community performers to filter the mass of important questions and
queries which they will have. I've also been asked to do a few things also such as compiling a list of
names of those involved for the program and recognition.
How many school and community groups are involved?
We've got over 30 different groups and over 500 individuals. A very diverse range of community
groups.
9.4
Discussion
1. While watching the show, have student's note how lighting and sound effects are used to
create atmosphere. Also, have them consider how costume has reflected the characters
and the world of the play. Comment on how these there elements of the performance have
together produced an overall idea, atmosphere, impression or theme.
2. Take away one element of the production at a time (ie costuming) and imagine what the
production would've been like without it. By doing this, you will hopefully highlight how each
element (regardless of how small or large) combines together to produce the overall affect.
9.5
Activity
Ask the class if there is an idea they have for a show or put a proposal to produce a show of your
choice. On the board make five columns titled ‘set/props', ‘personnel', ‘costumes', ‘lighting' and
‘sound'. List all of the thoughts and questions that each heading raise (they don't have to necessarily
be answered but by doing so more may be raised). By the conclusion of this activity there should be
a very full board and a realisation of the work involved in putting on a show.
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10 Life imitating art?
In a coincidental turn of events, we see the real-life Prince of Denmark in the spotlight this year. In
his own bid for happiness, we will see him wed his true love, Mary Donaldson of Australia.
Crown Prince Frederik of Denmark is to marry Mary Donaldson of Sandy Bay, Hobart at
Copenhagen Cathedral on May 14, 2004.
Prince Frederik will show that it is possible to marry the woman you love and rule a country at the
same time, a task that Hamlet could not carry out.
Will this Danish Prince attain the happiness that his Shakespearean counterpart could not? Only
time will tell.
10.1 Activities
1. Compare and contrast the lives of Prince Frederik and Prince Hamlet. How are they similar? How
do they differ?
Examples
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Both must hold duty to country ultimately.
Both are restricted in their love affairs by the expectations of society.
2. Compare also Ophelia and Mary Donaldson. Do they share anything in common?
Examples
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Both are prepared to make sacrifices for their lovers.
Both find their relationships governed by society's beliefs.
3. Make a chart that displays these differences, to compare modern royalty to Shakespeare's
characters.
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11 Additional resources and references
For a detailed exploration of the language of Shakespeare's plays (it's more for actors rather than
teachers, however it is still useful) this book is very good:
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Berry, C (1987), The Actor and His Text, HARRAP, London.
About Shakespeare:
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Bearman, R (1994), Shakespeare in the Stratford Records, Alan Sutton Publishing Inc., United
Kingdom.
Raleigh, W (1928), Shakespeare, McMillan Company, Great Britain.
Rowse, A (1977), Shakespeare the Elizabethan Age, Weitenfeld and Nicolson, London.
http://web.uvic.ca/shakespeare/Library/SLT/intro/introsubj.html
Useful Hamlet resources:
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Mabillard, Amanda. Sources: Hamlet. Shakespeare Online. 2000.
http://www.shakespeare-online.com (18/02/2004).
Andrews, R. and Gibson, R. (ed) (1994), Hamlet, Cambridge University Press, Cambridge.
Brannagh, K. Hamlet VHS (1996)
Zeffirelli, F. Hamlet (Starring Mel Gibson) VHS (1991)
http://www.yale.edu/ynhti/curriculum/units/1983/5/83.05.04.x.html
About this show:
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comes to townHamlet
to dazzle with set and costumesHamlet
HamletActors revisit
Note's Resources:
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Haseman, B and O'Toole, J. Dramawise, Heineman Publishers, Australia.
http://www.spiegel.de/panorama/0,1518,grossbild-213009-266953,00.html (Image)
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