Higher Drama
Hamlet Notes
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Hamlet Production 07/10/2014: Notes
These are the notes we came up with together. Use these to fill out
your analysis grids for the different aspects
Acting

Pre-show – running through tracking and lines. They are actors playing a
part, believability, theatre experience.

Cold at the start – The actors help to confirm their location using voice
and movement skills. They enter the stage area, rubbing and blowing on
their hands. Their voices sound strained at times and breathy. All this
helps us to realise they are cold and not sheltered well.

Hamlets Movement contrasts – Hamlet uses contrasts in his movement to
reflect his ever changing mood. He is losing his mind and is very up and
down. Shows this by varying his movements from twitchy and fidgety
movements that make him look agitated to still moments where he seems
thoughtful and sad.

Hamlets’ voice contrasts – Hamlet varies his voice throughout the play.
He uses a difference of volume, pitch, tone, intonation and pace often to
extremes and this gives us a clear indication of his madness. His head is
all over the place and this is reflected in how he communicates. He uses
emphasis to help clarify understanding in some of his longer speeches and
at times varies his accent for comedic effect.

Polonius and Ophelia – Their movement suggests sexual connotations. The
way he pulls her hair away from her neck from behind, he grabs her from
behind also. Ophelia sits on Polonius’ knee and he moves his hand up her
thigh. He also become violent and aggressive towards her, grabbing her
strongly by the face and slamming her up against the wall. All this
suggests a relationship that is not typical of a father and daughter. It
hints and mental, physical and sexual abuse.
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
The uncle pose – Hamlet uses movement to show the audience his feelings
for is uncle. When he begins to talk about his uncle and his relationship
with his mother he repeats the same movement. Hamlet hunches over,
tilting his head up and brings his hands up to his chest. His fingers are
almost contorted and in doing this he creates a recognisable visual
representation of a classic villain. We can see from the outset that
Claudius is the villain of the story.

Hamlet and Ophelia kiss – in the change of scene we see Hamlet and
Ophelia embrace and passionately kiss. This gives us a glimpse of their
relationship as it previously was, before Hamlet went away. It give the
audience some background knowledge of the characters so that we can
understand why they react and behave the way they do.

Ophelia and Laertes’ Embrace – This movement motif is repeated
whenever the brother and sister greet each other. She flings her arms
around his neck and he lifts her from the ground in a loving and
comforting embrace. The embrace shows genuine and heartfelt care
between the two. It shows the protection that Laertes feels towards
Ophelia and acts as a visual representation of their strong bond with one
another.

Polonius telling of Hamlet’s love for Ophelia – Polonius reveals to Claudius
and Gertrude that he believes Hamlet is in love with Ophelia. This gives
us a chance to see Polonius’ meddling nature. The scene is laid out almost
like a courtroom with the king and queen sat on either side and Polonius in
the centre. He delivers his speech similar to that of a lawyer delivering
his opening speech to a jury, he provides exhibits as evidence of his
theory by way of Hamlet’s letters and Ophelia as a witness. Lawyers are
stereotypically sly and underhand and this could be suggesting that
Polonius has similar qualities. He seems to be the one pulling the strings
and spinning the stories, this is also apparent in his return as a ghostly
presence, haunting and playing with Ophelia’s mind.

Hamlet’s Friend’s boyish movements – The actors playing Guildenstern and
Rosencrantz use movement and mannerisms typical of young children.
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They stand with a wide gait and are often fidgety, moving their weight
from left to right creating a sense of excitement and anticipation. They
use big, over the top gestures like pointing directly at Hamlet and
throwing their arms open to greet him. They have a close proxemics to
one another and feel comfortable to have physical contact with one
another by the way of hugs and pats on the back etc. They show
excitement to be in one another’s company by jumping up and down,
smiling and laughing when they first meet. They tease each other and use
sarcastic tones in a friendly way. Hamlet’s body language mirrors theirs
which is a contrast to how he has been previously in the play. This allows
the audience to understand that these are old friendships, they have
known each other for a long time and clearly spent their boyhood
together. This makes its all the more shocking for them to betray Hamlet
and spy on him as Claudius requests. Their movement suggests innocence
and makes them an easy target for Claudius, we can believe that they may
be naïve enough to betray their friend. It also provides a stark contrast
when Hamlet begins to expose their betrayal, their movements change
dramatically.

Ensemble slow motion – Slow motion used to highlight the moment in
Hamlet’s head when he shoots Claudius at the end of act 1. It’s not real,
slow motion represents how we see things in our head??

Ophelia’s pain movement – Ophelia shows her pain (both physically and
mentally) an ongoing motif after her father has died. She continues to
bend over and grab her stomach. This is representative of the fact she is
suffering a miscarriage but could also be symbolic of the torment she is
feeling from her encounter with Hamlet and her father’s death.

Proxemics of Grave maker – grave maker speaks with the dead, he is
close, sitting on the side of the grave, he has a close relationship to the
dead, he is comfortable in his job. Allows us to feel comfortable and
therefore view him in his comedy role as intended.
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
Polonius accompanies Laertes when he speaks about his revenge on Hamlet
– Polonius is dead but he appears onstage at key moments. When Laertes
is threatening to take revenge on Hamlet for his father’s death, polonius
is there, by his side. Reinforcing the reasons for Laertes’ intended
revenge and continuing to pull the strings within the story as he has from
the start. Giving him his blessing to take revenge on Hamlet.

Polonius and Ophelia seem to dance in the giving out ‘Flowers’ scene – She
continues to be influenced by her father, she is still doing his ‘Dance’

Hamlet kisses Claudius – Symbolic of the kiss of Judas, Claudius’ fate has
been sealed he will die??

The closeness of Hamlet and his mother – in her chamber we get to see
the closeness of their relationship. They hold each other and comfort one
another. This genuine intimacy between a mother and her son helps us to
understand the betrayal that Hamlet feels through his mother’s
relationship with his uncle. He attempts to make her take responsibility
for her betrayal. At first she does not want to listen and tries to move
her head away from Hamlet and break the eye contact. He holds her head
firm and speaks looking straight into her eyes. When he breaks down she
comforts him and uses long sweeping motions across his back, smoothing
down his jacket, almost symbolic of her trying to smooth out his problems
and soothe him.
Lighting

Lighting for the ghost of the king – The same lighting motif is used each
time the spirit appears. The actor is lit from behind using a white Fresnel
at the back of the stage. This puts the actor in shiluoette and helps to
create the notion of ghostly shadows in the dark. The rest of the stage is
very dimly lit with steely blue and white profile spots, creating the sense
of a cold dark night. The beams are highlighted by the use of smoke,
giving us a sense of moonlight, perhaps a full moon. This has a heavy
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impact on the audience and it heightens the mood and atmosphere
allowing us to mirror the feelings of the characters on stage.

Soft lighting for party – A lighting chain, not typical for theatre lighting
is used to create a softer and warmer atmosphere.

House lights up – the house lights are brought up as Hamlet says, ‘Who
calls me Villain’. It gives us a sense that we are under the spotlight,
almost that Hamlet knows we may be judging him. The house lights make
us feel uncomfortable, does Hamlet want us to feel a taste of what he is
feeling, with all those around him watching and judging him and his
apparent madness.

Players are lit with coloured lights – something interesting, exciting, not
the norm is about to happen. These lights change to red as they act out
the murder.

House lights up – ‘Guilty creatures sitting at a play’ as Hamlet says this
line the house lights were bought up. We suddenly feel exposed,
uncomfortable, are we mirroring the feelings that Hamlet intends
Claudius to feel when he is watching the play

Purple lighting used for Ophelia – Long purple profile spot used in both
her speech and during Gertrude’s speech explaining Ophelia’s death.
Gertrude mentions ‘Long Purples’ speaking about her death. This is a
direct correlation to the lighting used. Long Purples (orchids) have a
connection with sexuality and using the purple light could have a symbolic
connection to the idea that Ophelia represents sexual desire within the
play. The purple light could also have a connection to another flower that
is mentioned by Ophelia herself – Violets. Violets are a symbol of
faithfulness. Could this be symbolic of Ophelia’s faith in Hamlet’s love and
putting all her faith in her father when she listens to him when he advises
her to stop seeing Hamlet.

Ophelia’s usual purple light turns to red during her song – at the end of
this scene, Ophelia warns she will tell her brother of her father’s murder.
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Is the red light a symbolic representation of the danger that is coming
and the blood that will be spilled??

Green light during Laertes speech on revenge – Villain connotations,
Polonius is there, giving Laertes the ‘green light’ to go ahead with his
revenge plans.

Green light in the graveyard – Suggesting grass, bodies lying under the
earth, they are outside (location, season and time, representation)

Lights turn colder as character’s die – In the final scene, as the
character’s die, the lights slowly fade from a warm yellow to a cool white.
Death is upon them, their bodies are turning colder.

Light in Gertrude’s room – A light is flown in from the ceiling to depict a
change in scene to Gertrude’s chambers. This light is harsh and bright,
could it be exposing Gertrude and putting her under the spotlight for her
part to play in the tragedy??
Sound

Different pitched sounds are made throughout the play using old style
reel to reel recorders - These machines allow notes to be played and
their pitch altered. Actors take turns throughout to alter the pitch of
the notes ranging from low bass notes to high pitched sounds. At times
the volume is also changed, from the sounds being barely audible, just a
background noise to the note dominating the scene. The notes often
reflect the mood the scene is trying to create and add to the atmosphere
in many different ways. When dark deeds are being discussed such as the
murder of Hamlet, the reel to reel sound is low and menacing. When
tension is building, for example in Gertrude’s chamber, a high pitched
piercing sound makes us feel anxious and on edge. The highs and lows of
the pitches mirror the highs and lows of the story and provide interesting
soundscapes that help to set the scene, the mood and atmosphere and
have a big impact on the audience.
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
The Ghost of Hamlets Father – every time the ghost appears the same
music motif is played. The use of low menacing notes from the reel to reel
and the clashing piano notes played gives a sense of fear and impending
doom. The music gradually gets louder in volume and the pace quickens
which helps to build the tension of the scene. The sudden silence as the
Ghost disappears also helps to shock the audience and bring us back to
reality. This helps to make the presence of the ghost all the more
impactful as in the silence it feels as if something supernatural has just
happened.

Claudius’s spell – there is a tinkling of bells as Rosencrantz and
Guildenstern agree to spying on Hamlet. It almost suggests that they
have fallen under Claudius’s spell, they have been persuaded to betray
their good friend at his suggestion. It gives us a sense that Claudius is
manipulative and devious. It helps to give him a villain status.

Hamlet/Ophelia music motif – A soft piano motif is heard when the two
are together. The use of major chords makes the piece feel romantic and
uplifting. This begins to change before the Nunnery speech. A violin
comes in as the piano fades out. As Hamlet says the line ‘I did love you
once’ the violin begins to create harsh and clashing sounds, the music
seems to deteriorate reflecting the deterioration of their relationship.
During the rape, the music sounds sharp and harsh and forceful directly
mirroring the scene that is being played out.

Long note during players performance – A long note is held and gradually
gets higher in pitch as the story builds to its climax. This helps to build
the tension and suspense as they get closer to exposing Claudius.

Sound effect of bullet – At the end of Act 1 as the players have
approached the climax of the story, Hamlet is convinced of Claudius’ guilt
by his reaction and attempts to shoot him. One of the players creates the
sound effect of Hamlets heavy breathing as he loses control and points
the gun at Claudius. The heavy breathing compliments the slow motion
movement sequence and helps to build the tension as the pace between
breaths quickens. As the pace comes to a climax the live sound effect of
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the bullet is made as Hamlet fires the gun. Does the fact that these
sound effects are made live by one of the players point at the fact that
we eventually learn that this last part of the scene isn’t real and Hamlet
has not really shot Claudius. The sound effect is a creation much like this
fabricated scene that Hamlet is dreaming up whilst watching the players.
Hamlet is disturbed and is becoming delirious. Also hints at little boys
playing war, mimicking gun sounds etc.

Hamlets guitar playing – Hamlet plays the Electric Guitar after he feels
he has exposed Claudius’s guilt. The loud and boisterous sound of the
guitar mirrors the exuberance he feels at making Claudius squirm.

Horn used during fencing match – As Hamlet and Laertes are duelling a
horn is used to depict each hit that is landed. Helps to emphasise the hit
as well as give the audience a shock, reflecting the shock of the impact of
the hit on the characters

Drum hit on Laertes entrance – Whenever Laertes enters a scene he is
accompanied by a quick roll and hit of the drum. Is this alluding to his
eventual duel with Hamlet. Drums often accompany armies as they go into
war, is this drum roll predicting the war that will rage between Hamlet
and Laertes.

The Piano is plucked during Claudius’ guilt speech – During the speech
where he is asking god for forgiveness, the piano is plucked creating a
strange and awkward sound. The fact that the piano is being used in the
‘Wrong’ way could be symbolic of the wrong-doing that Claudius has
caused in killing the King, he is now trying to right his ‘wrongs’. His guilt
also makes him an unnatural villain, we would not usually expect to see this
as part of a villain’s stereotypical personality so again the unnaturalness
of plucking the Piano mirrors this idea. The sound created also heightens
the mood and atmosphere, it creates a tense and sinister environment, we
are hearing things we shouldn’t hear (the confession) again mirrored by
the way the piano is played – it was meant to be heard like that.
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
A deep wurring sound is heard and gets quicker and louder as Hamlet
contemplates killing Claudius while he is praying. The rise ion volume and
pace help to build the tension in the scene, it almost mimics the sound of
Hamlets quickening heartbeat as he gets closer to killing Claudius.

A brush is used on the drum as Hamlet drags Polonius’s body – this helps
to make the scene more realistic, there is no body in the plastic but the
brush on the drum creates the illusion that there is something heavy
inside. The brush imitates the sound of the friction caused by the body
being dragged along the floor.

Bells rung when murder or death is imminent – there are a number of
times a bell was used, during Hamlets speech before he enters his
mother’s chambers and kills Polonius, during the scene between Claudius
and Laertes when they plot to poison Hamlet, when Gertrude is describing
Ophelia’s death. The bell was often used at funerals in the past both to
encourage people to pray for those that had passed as well as ward off
evil spirits.
Costume

Rosencrantz and Guildenstern’s costume are almost childlike. They have
short rolled up trousers and trainers, Guildenstern also has a back pack
and has a collection of colourful badges adorning his coat. They represent
a happy time from Hamlets past, they have been his boyhood friends and
this is shown through their costume. It helps to highlight their innocence
and therefore suggests they are naïve enough to fall for Claudius’s
suggestions of spying on Hamlet.

Hamlet and the Kings Costume – Hamlets costume is mirrored in his
father’s costume who also wears a smart dark suit with tie and white
shirt.

Hamlets Tie – Hamlets tie gets increasingly messy as he begins to lose his
mind, almost as if the tie unravelling has adirect link to Hamlets mind
unravelling.
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
Hamlets Nakedness – Hamlet appears in just his pants at one stage whilst
Polonius is speaking, this gives us a sense that Hamlet is really losing his
mind. Helps also to explain visually what Ophelia is telling her father
regarding Hamlet entering her room naked in the next scene.

The players wear Gertrude’s dress – A hint to the fact that they are reenacting the murder of King Hamlet, that the story they are performing
is directly linked to them.

Sparkly hat for the Grave maker – he is the comedian, the light relief in a
tragic play

Hamlet’s casual costume change - He returns from being away in a t shirt
and trousers. His time away has relaxed him?? He is no longer wearing his
suit, no longer in mourning for his father?

Fencing costume during Hamlet and Laertes fight – they are duelling for
points (3 hits) this is a reflection of the rules of fencing and give the play
a more modern feel. It is obvious to an audience that may be struggling
with the language that there is a fight going on. The fencing costume is
an easy association for them to make.

Claudius’ Party crown – The fact he is King is a farce, hints to the fact he
has murdered Hamlet’s father and therefore him being King is a joke, it is
pretend etc.

White tape around Hamlet – Almost represents the notion of a straight
jacket, the way his arms are restricted, highlighting his madness.
Set

Exposed backstage – this allows us to see what is going on, character’s
getting changed, getting ready to come on etc – Brecht?? Wanting a full
theatre experience.

Musical instruments shown on stage – highlighting the importance of them
in building tensions and creating mood and atmospehere.
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
Industrial feel - This makes the play seem modern even though the
original language is being used. The use of what is there on the bare
stage, air conditioning, pipes, the fabric of the building forms part of the
set.

A vast space yet most of the action crammed into a small space in the
centre. The pressure cooker of living in this house with all these goings
on.

Chair in Nunnery scene – the chair is used by Ophelia to hide under after
Hamlet has raped her. She crawls underneath it seemingly ashamed by
what has happened. The chair provides a cover to protect Ophelia and
make clear the embarrassment she feels at what has happened.

Coloured Chair in Gertrudes

The bath – representation of Ophelia drowning. Drowning in the bath
suggests a child’s death – innocence??
Props

Polonius places shoes on the table – bad luck, superstition that something
bad may happen.

Newspapers – During the ‘To be or not to be’ speech, characters in the
background are reading newspapers.

Hamlet’s letters to Ophelia – The letters are thrown out and scattered
marking the end of their relationship. Their handling of the letters helps
to show their feelings towards each other and their relationship. Ophelia
gently picks up the letters, holding them close to her chest (her heart).
She carefully begins to place them back in the box. In contrast Hamlet
violently grabs them from the floor and screws them up.

The Pipe – A pipe is passed around in the scene where Claudius asks
Rosencrantz and Guildenstern (Hamlet’s boyhood friends) to spy on him.
The pipe is passed around tracking the moment that they agree to be
part of Claudius’ plan. They have been tempted by Claudius and are now
bound (addiction tobacco??)
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
The Megaphone – Hamlet’s father uses the mega phone to enforce his
statement, ‘Remember me’. He is urging Hamlet to reveal and expose
Claudius’s secret. Hamlet then mirror’s his father’s actions by using the
same mega phone to reiterate to the players the story they must perform
in an attempt to uncover Claudius’s guilt.

Ophelia places her gift from Hamlet on the floor – on saying the line ‘lay
in the ground’ Ophelia lays the gift from Hamlet down, reflection of a
burial. The gift is a symbol of their love, she is burying it and suggesting
their love is dead now he has killed her father

Polonius plays the Violin whilst Ophelia hands out the ‘flowers’ – Her
father has had a huge influence on her and is still doing so in death. He is
playing a stringed instrument, almost suggesting he is still pulling the
strings of the story and her actions.

Boxing bag – Laertes uses the boxing bag, he is in training (to do his
father’s and then Claudius bidding) symbolic of him being a trained
fighter, preparing for the final duel??

Towel around Claudius’ neck – While Laertes is using the boxing bag,
Claudius takes the role of ‘Trainer’ with a towel around his neck. He
continues to coax Laertes into becoming part of the plan to kill Hamlet.
He eventually places the towel around Laertes neck, as he agrees to go
through with the plan to kill Hamlet, this could symbolise Claudius’s
views/ideas being passed over and taken on by Laertes.

Horses heads during Ophelia’s song - symbolic of the fact she is going
mad (crazy horses??) could it be a warning (god father reference) she
insists she will tell Laertes of her father’s murder.

Rhu for you – Ophelia’s flowers are replaced with drink, possibly to
highlight the notion she is pregnant and trying to get rid of the baby. Rhu
was used in Shakespeare’s time as a method of abortion and there is also
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a connection in more recent times to alcohol and abortion (gin). There are
links to alcohol and depression also. The bottles of alcohol are a constant
staple of the set and could symbolise the corruption and the downfall of
character’s such as Ophelia. We see a distinct change in her after the
rape scene and she begins to drink more of the alcohol.

Hamlet’s recording device – Alludes to an investigation, Hamlet is seeking
the truth surrounding his father’s death. He is investigating and trying to
build up evidence to incriminate Claudius. He uses the recording device to
highlight choice phrases that highlight his suspicion of Claudius as well as
recording Claudius himself. Claudius says ‘ Everyman has business and
desire’, Hamlet into the recorder ‘There you are Uncle’.The Recording
device then helps to expose Claudius’ guilt when he rips it apart and thus
destroys the evidence Hamlet has been collecting.

Blood on Gertrudes Hands – after Hamlet has killed Polonius he takes his
mother by the hand, leaving blood on her hands. Symbolic of her
involvement in the deaths that have happened and are about to happen,
her relationship with Claudius has been a catalyst to the tragic events??
She has agreed to let polonius into her chamber to listen in on her
conversation with Hamlet.
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