Word: hamlets
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Dates: during 1980-1989
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Peasants of the steep Mourgana region, the northwest roof of Greece, were horrified by the pedomasoma, but they were battered and half-starved by a decade of war, and few had the strength or cunning to resist. One who did was Eleni Gatzoyiannis of the little farm hamlet Lia. Though she had spent her life deferring to her father, a prosperous miller, and to her husband, a cook at a diner in far-off America who returned periodically to visit, Eleni was transformed by crisis into a leader: she organized the escape of 20 people of Lia, most of them...
...another level, being encased in a box symbolizes not only death's inescapability but also the characters' limitations within the constraints of the original Hamlet. Stoppard wanted to emphasize these limitations by confining Rosencrantz and Guildenstern to their original roles as bit parts, servants of greater wills. He magnifies the characters without strengthening them--even in their own play they remain ineffectual word-wielders with no more identify than they had as Shakespeare's tools...
...players to appear and disappear. The effective use of curtaining to exclude Rosencrantz and Guildenstern from the rest of the players, and the thorough if unimaginative use of lighting to blacken the set completely, emphasize the duo's--and the audience's--helplessness. Like the players in Hamlet, we feel as if we are on the fringe of the real play that is slightly out of our sight. At times we are plunged into total darkness and feel the same apprehensions as Rosencrantz and Guildenstern...
...Rosencrantz and Guildenstern draws heavily from Samuel Beckett's style. But director Kaplan perhaps tips the scales too heavily toward the absurd tradition. The stark stage, the sparse furniture are all there, and rightly so. But the Shakespearean tradition is just as important: Stoppard includes sizable chunks from Hamlet, and his own words show a penchant for language tricks...
...slowing down the fast-paced delivery. Kaplan might have reinforced the contrast inherent in Stoppard's play and done more justice to the Hamlet half. For the near-antithesis between the two voices, the Shakespearean prose and the Beckett-like, riddling repetitions, lead to the play's core: Hamlet's tragedy as seen from side-stage, through the Godot-like absurdity of two characters who are not the least bit heroic...