Controlled Chaos: The Reign of Magic Prolongs

From the very opening of William Shakespeare's The Tempest, almost all aspects of the play are controlled by magical or extraordinary means. Sound familiar? From the "sinking" of King Antonio's ship to Prospero's authority over Ariel, magic truly does reign in this first act. Although Prospero has fallen from the heights of royalty and honor, he is still able to magically assert his authority on the island. Touchstone Pictures substantiates the extensive impact of magic, and control altogether, through the director's particular casting decisions.

Touchstone Pictures' first production of Act I, Scene II depicts Prospero's verbal abuse of Ariel, after his request that Prospero recall "what thous hast promised, which is not yet performed" (1.2.288-289). Prospero responds by forcefully reminding Ariel of the unfortunate circumstances that Sycorax, the late witch of the island, placed him in. However this verbal abuse becomes physical as the setting gradually changes, by way of computer graphics. Initially focused on the front of Prospero's hut, the setting evolves into the very tree that Sycorax trapped Ariel in after he refused to fulfill her malicious orders. This visualization illustrates the impact of Prospero's piercing words as they literally place Ariel back into his prior misfortunes. Not only does this speak to Sycorax's magical power, but it also conveys the method that Prospero is able to use in order regain control of Ariel's straying mind. Furthermore, the casting of Ariel also contributes to this idea of magic as his transparent skin and bright eyes make him extraordinary and more than a mere mortal. This leaves him as a vulnerable subject to the outlandish requests of Prospero, which may only be accomplished through magic.

Touchstone Pictures' second production of Act I, Scene II  gives the viewer an exclusive look into the neglect that Caliban endures, at the hands of Prospero's magic. The degree of this neglect is expounded through the set design of Caliban's cave. Caliban stoops amongst rusty beer bottles and grimy clothing while he feeds on the rotten caucus of a crab. These elements that contribute to the general filth of the cave validate Caliban's claim that Prospero has "st[ied] [him] in this hard rock", almost in a manner that pigs would be stied in (1.2. 409-410). Moreover, Caliban's costume speaks to the tribulations that he has sustained through his fall. The director plays Caliban with darken and charred skin that gives the impression that he has been burned, or perhaps submerged in the smut of his cave, for such a long time that his skin remains as such. This charred skin resembles the very rock that he stands upon as he argues with Prospero over the rites to the island. In fact, in the light of the sun, with a stunning backdrop of the ocean, Caliban looks out of place. At this moment, the director is playing with the notion that Caliban belongs in the the rock, his cave, which his flesh mirrors. This idea expresses the influence of Prospero's magical command as he is able to make bring characters to the sheer level of rock and "sty" them in it. Ultimately, Prospero re-establishes control by casting a spell on Caliban which leaves him in pain and with cramps, once again revealing the comprehensive dominance of magic on the island and the neglect that it may cause.

In sum, the director of The Tempest production is able to effectively convey the magical methods of control in the first Act through computer graphics, set design and costume. Prosperous' and Sycorax's displays of authority over Ariel and Caliban through threats and magical spells articulate the significance of mysticism on the island.  Indeed, the Touchstone Picture's production is able to delineate the intensity of Prospero's and Sycorax's extraordinary capabilities in a way that varies from the text
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And So Falls the Prince of Denmark

Act V Scene II (Part 1)

Act V Scene II (Part 2)

          Everything culminates to this moment.  Hamlet fails to make progress in his plan and the King along with Laertes has a plot against him.  The Royal Shakespeare Company's Hamlet Act V Scene II opens with Hamlet staring into a broken mirror.  Here, Hamlet's broken face foreshadows what is to come.  Everything is falling apart, but he doesn't know it.  He still has this confidence, either genuine or forced, that he'll be able to win against Laertes.  This confidence comes up in his interaction with Osric.  He non-chalantly lies back and mocks Osric, seemingly without a care in the world, but the way David Tennant chose to portray Hamlet in this scene reflects the character's true state of mind.  In this scene, Hamlet is disheveled, his shirt messy and his hair all over the place.  This suggests that Hamlet is trying to keep himself collected, but with great effort.

          In the second part of Act V Scene II, King Claudius sets his plan into action.  Seeing that Hamlet is more skilled than Laertes, he offers him the poisoned cup.  After Hamlet rejects it, Gertrude takes the cup and toasts to Hamlet's fortune.  Claudius warns to her to not drink, but Gertrude, in a sacrifice to save her son, drinks the the poison.  The actress that portrays Gertrude adds so much more to this moment, particularly with the delivery of her lines.  There is such a defeatist tone to it that speaks volumes to the strength of her love for her son.  To her, there is no other way.  Once she falls and reveals the poisoned cup, Claudius takes a line meant for Hamlet, "Treachery!  Seek it out." (5.2.323)  This move by the director serves to emphasize the manipulative nature of Claudius.  In this desperate last attempt at self-preservation, he cowers at the thought of facing his consequences.  This fear is so great that when he is forced to drink the poison, his quick resolution reflects how he'd rather death than face punishement.  Although I feel the shrug by the actor is a bit cheesy, it does accurately portray his preferance for the "felicity" of death.

          Another interesting aspect about this version of Hamlet is the random security camera shots.  These shots are particularly effective in this last scene because of the effect they have on the viewer.  It makes the audience feel as if they were actually watching all of the event unfold in real-time, as if in a security office.  This augments the suspense of moments such as the start of the fencing match and the round that Laertes plans on poisoning Hamlet.
       
          Let's not forget Hamlet's famous death scene either.  As Hamlet dies he asks for Horatio to refrain from killing himself in order to spread Hamlet's legacy.  He refuses to be reduced to nothing as the bones in graveyards are.  Horatio agrees and cries as Hamlet dies in his arms.  The director decided to exclude Fortinbras, which only amplified the finality of Hamlet's demise.

Overall, the director's decisions to cut off lines and give some to other characters and his ingenious security-camera aspect prove extremely supplemental to the scene.  The actors' delivery took this scene all the way home as well, giving heartfelt and deeply tragic emotion to their characters.  In the end, Hamlet accomplishes his quest, and as a man who despised life, is released from its grips and set free into the abyss.  So falls the Prince of Denmark.

A Sharp Contrast: Brother/Sister

Act IV Scene 5 (Part 1)

Act IV Scene 5 (Part 2)

In the Royal Shakespeare Company's Part 1 production of Hamlet's Act IV Scene 5, we see right away a shattered mirror, a prop the director uses to symbolize the death of Polonius. Interestingly enough, the fragmented mirror can also be considered as the symbol of the "broken" and mad Ophelia. At the 46 seconds mark in the Part 1 video, the camera captures Ophelia through the broken mirror as she enters Gertrude's room. I found the director's choice to introduce Ophelia at this angle to be quite interesting as the broken mirror angle displays Ophelia literally broken into bits of pieces. Because Ophelia is first introduced as physically broken through the reflection of the fragmented mirror, the director's angle here also suggests that this mad behavior first arises from the death of her father Polonius as represented by the broken mirror. The director further shows the disturbed behavior of Ophelia through her physical appearance. Ophelia's disheveled appearance starting with her unkempt and tangled hair to her non-existent shoes only strengthens the argument that Ophelia is mentally unstable. In the video, Ophelia even strips to only her underwear as she sings, again showcasing her crazy behavior.

In the Part 2 video of Act IV Scene 5, Ophelia comes back to the room now occupied by Laertes, Claudius, and Gertrude with arms full of different flowers. However, the director's decision to present Ophelia this time with bruises and scars visible all over her upper body is a further testament to her pitiful, mad behavior. The director also makes Ophelia stand out in the room by displaying her in a dirty white dress, while everyone else is covered fully in black. This costume of Ophelia, which also does not cover all of her body unlike those of the rest of the characters, emphasizes and shines the unstable behavior in the dark room, which at the time, is tense.

Yet, this mentally ill behavior of Ophelia is strongly contrasted with the vengeful behavior of her brother Laertes. Towards the end of the Part 1 video and into the beginning of the Part 2 video, the director introduces a storming Laertes who points the gun at Claudius. The costume of Laertes is an all black fashion: black pants and a black turtleneck topped with a black leather jacket. Even the gun Laertes holds is black. This consistent color of black on Laertes displays his dark and revengeful behavior. Laertes's modern outfit also reminds me of those of the assassins and agents we see in TV shows and movies. Also, the director's choice to have the whole scene in the dimly lighted room with black walls and curtains helps emphasize the tense and vengeful mood lingering around Laertes.

All in all, the director's ultimate choice of certain costumes and props for Ophelia and Laertes strengthens the sharp contrast between the behaviors of the two siblings. This production of Act IV Scene 5 does a tremendous job of emphasizing a sharp division of reactions from opposite sexes to a father's death. 

Dissecting the Mind: A Murderer Versus a Lunatic

Act 3, Scene 3 of the Royal Shakespeare Company’s production opens with Rosencrantz and Guildenstern essentially kissing up to Claudius.  However, Claudius's countenance remains solemn and disinterested, as he obviously has something greater on his mind than the boys' flowery comments.  Claudius, in the production, barely looks at the two as he sifts through papers and, in one instant, lets out a purposefully rude, loud breath to emphasize a somber apathy towards the two men. This feeling of depression and seriousness is further emphasized through the setting of the scene, a huge, dark, empty room.  Indeed, every single thing in the room (bar the shiny armor of the guards and the white shirts under the men's black suits) is black: the walls, the ceiling, the floor.  This bleak emptiness sets the stage for Claudius's subsequent speech, in which Claudius seems even more reflective in the production than he does in the text.  His soliloquy, a 37 line speech, takes four minutes and thirty eight seconds to deliver in the production!  Oddly, Claudius only moves his feet once during the whole speech when he bends down to kneel, and even then, he stays stationary and simply slowly crouches.  This phenomenon paired with the thin shakiness of Claudius's lips and the bare whiteness of his face reveals a reflective yet emotionally detached sentiment.  He accepts the horror of his crimes, and while he does feel sorry, remains honest.  Initially speaking (or 'praying') in a pleading tone, as soon as Claudius says that a successful attempt of repentance "cannot be, since I am still possessed/ Of those effects for which I did the murder" (3.3.57-58), his tone turns to one of a staid acceptance of his sins.  

The director's portrayal of Claudius is even more curious and impactful when compared to the lunacy of Hamlet.  As he enters the scene, his crown sits crooked atop his untamed brown hair.  His white shirt is only half tucked in  and his collar is completely messed up; he looks as if he hadn't slept for days.  The director creates a mood of suspense in this scene as Hamlet, already looking scarily psychopathic, creeps in the shadows quickly towards Claudius, knife in hand, as the music starts to rise in both volume and tempo.  Hamlet quickly holds up his blade in the spotlight right above Claudius's exposed neck as the music hits its climax.  Hamlet's eyes are wide and his teeth are gnashed together, suggesting impulse and intense emotions of rage and vengeance.  However, Hamlet pauses and the music begins to fade as a voice in his head convinces him that killing Claudius would simply be a service to his father's murderer.  That Hamlet's voice isn't spoken but instead narrated suggests the turmoil that is present is all within Hamlet's mind.  With a face of fear and realization, Hamlet slowly lowers his knife and quietly slips away.  Hamlet only begins to physically speak once he reaches his dark refuge behind the scenes at the corner of the room.  The director shows that Hamlet's strength gathers only in places of secretive thought, and that when called to action, Hamlet's psyche isn't as firm.

Ultimately, the director's choice in both Hamlet and Claudius's style of dress, speech, and expression creates a mood of dissonance and uncertainty.  Hamlet, while seemingly set on killing Claudius, shows that he is incapable of physical action, and Claudius, while seemingly remorseful of his act, reveals that he still wants to reap the benefits of the murder.

Up On Melancholy Hill - Hamlet and the Chore that is Life

"And I, who timidly hate life, fear death with fascination. I fear this nothingness that could be something else, and I fear it as nothing and as something else simultaneously, as if gross horror and non–existence could coincide there, as if my coffin could entrap the eternal breathing of a bodily soul, as if immortality could be tormented by confinement. The idea of hell, which only a satanic soul could have invented seems to me to have derived from this sort of confusion – a mixture of two different fears that contradict and contaminate each other."  - Fernando Pessoa

In this moment from Act 3, Scene 1, we see Hamlet struggle with a question that nags all of us at some point in our lives - what's truly better: life or death? This question is one that has existed since the dawn of man, yet it still has not been given a proper answer. Although Hamlet does not have the answer as to which choice is preferable, he seems to favor the idea of death and its guaranteed release from mortal suffering.

The video begins with a close-up of Hamlet's face with the his features outlined by the light, but the majority of his head concealed in shadow, conveying a sense of sadness. He is alone, propped up against a pillar for support as if the weight of the world is dragging him down. It is completely silent on the set - no music, no commotion, nothing.This helps to set the mood for Hamlet's soliloquy, as its grim nature is something deserving of the utmost reverence.

The actor's voice while delivering the soliloquy is slow, dry, and quiet, enunciating each individual syllable as if the actor's life depends on it. This delivery is appropriate when you consider the things that Hamlet is saying. For example, his third complete sentence is, "To die, to sleep— / [n]o more—and by a sleep to say we end / [t]he heartache and the thousand natural shocks / [t]hat flesh is heir to—’tis a consummation / [d]evoutly to be wished!" (3.1, 68-73). Here, he is viewing death as something to be desired as it can successfully remove anyone from the trials and tribulations life throws at them. When Hamlet puts it like that, death most certainly does seem to be more appealing than living.

However, the soliloquy shifts to tackle the problem with death when Hamlet asks, "But that the dread of something after death, / [t]he undiscovered country from whose bourn / [n]o traveler returns, puzzles the will / [a]nd makes us rather bear those ills we have / [t]han fly to others that we know not of?" (86-90). Although it is guaranteed that death will whisk people away from the problems they face in their daily lives, the reason suicide is not more common is due to the fact that we still do not know what comes after death. We are terrified of the unknown, and whatever comes after death will most likely remain unknown to us until we meet it.

Given this dilemma, that we choose to endure the struggles that accompany life because we are too afraid to die, the actor does a surprisingly good job of portraying the feelings of helplessness and despair. The actor never raises his voice or changes his facial expression throughout the performance. He remains constant in his delivery - a silky whisper that conveys a heavy sense of sadness. He succeeds in depicting how defeated Hamlet is over the realization that he is not brave enough to kill himself, yet welcomes death so he can run away from his problems. He is sullen and at the lowest of lows emotionally, yet he does not cry or scream. Instead, Hamlet merely accepts that he cannot solve his dilemma and chooses to bear with it just as everyone else does.

Sanity?

   
In this section of act two scene two, Hamlet is attempting to convince the outside world that he is insane.  One person that he particularly dislikes is Polonius, because of how protective of Ophelia  he is.  Throughout this scene, Hamlet berates Polonius, and uses his insanity as a guise for the insults. Hamlet calls Polonius a fishmonger, which at first could be interpreted as meaningless babbling, but is actually used as an insult describing the relationship between Polonius and Ophelia as one between a pimp and a prostitute.  Next, Hamlet harps upon how old Polonius is, and that in his reading old people are described as without wit.  Polonius realizes that there is some meaning to everything Hamlet's says, but is unsure of what that meaning is.

Hamlet hanging upside-down with his book on his face is an attempt to appear insane.  Hamlet is also barefoot, and paces back and forth during his conversation with Polonius, furthering the illusion of insanity.  As Polonius exits, the camera angle changes to a black and white view from above, like footage from a security camera.  He then shouts "these tedious old fools," and Polonius hears him and pauses for a second.  This is interesting, because that line was aside, or not meant to be heard by the other actors.  However, shouting something like that only adds to Hamlet's insanity.

After Polonius exits, Hamlet greets his two friends Rosencrantz and Guildenstern, and questions them about their presence in Denmark.  Hamlet knows that the King and Queen sent for his friends because of his fits of insanity.  Hamlet even reveals to his two friends that he has been depressed recently, and that nothing excites him anymore.  Hamlet continues to act crazy in front of Rosencrantz and Guildenstern, which begs the question of weather he is acting, or something is actually wrong with him and he has gone crazy.

In the scene where Hamlet tells his friends that he is not mad, and only acting for the King and Queen, he has an insane look on his face.  It seems that if Hamlet had control over his sanity, he would be explaining his "fake" bouts of insanity to his friends in a calm way.   However, in this version he is easily excitable, and is making weird faces and noises.  Hamlet actually seems saner when he talks to Polonius, one of the people he is trying to convince of his insanity, than when he talks to his friends.  This production has tangled lines between sanity and insanity.

Methinks I've Seen a Ghost

If you’ve ever seen a ghost—or an older looking bloke with baby powder on his face to make him look like one—it isn’t a pleasant sight. Whereas most of us wouldn’t think to pursue a ghost, Hamlet is persistent when he says, “Speak, I’ll go no further.” He maintains a child-like curiosity in his tone and body language and wants nothing more than to know the truth when he says, “Speak, I am bound to hear.” Hamlet’s father, on the other hand, retains a stoic posture and tone that one would expect from a ghost. His voice quavers as the scene goes on, but is nonetheless restrained by his supernatural physicality.

When the ghost reads his lines from around lines 50-100 in the play, he does so in a manner that captures the emotion and meaning of every word, something that is not readily apparent when reading the text bare. As usual, seeing the lines performed rather than merely read aloud provides a necessary and proper lens through which to capture the cornucopia of emotion and emphasis somewhat implicit in the text. At the end of his final monologue, the ghost walks into the darkness that is no longer visible to the audience and says, “remember me.” Here, the director captures the essence of the scene through having the actor playing the ghost recede into the darkness, as it not only bolsters the illusion of a ghost, but also bolsters the transgression committed by Hamlet’s uncle against his father. He recedes into the darkness where he will remain until his death is revenged, as is said when he first appears.

When Hamlet learns that his father’s death was a “foul and most unnatural murder,” he is physically and emotionally distraught in a manner consistent with what he has just learned. Once again, the director accurately conveys the emotion, which is immediate disbelief followed by an overwhelming anger. When the ghost exits, Hamlet gives an emotionally charged soliloquy that Shakespeare is famous for, in which he vows his allegiance to his dead father and swears to seek revenge upon his uncle.

The director wasn’t entirely conservative with regard to the original script, with the occasional omission of a few lines, but did so in a manner that didn’t undermine the flow of the play. His/her strength came across in the emotions displayed by the actors to capture the human rendition of the play which can only be brought alive when acted out. The use of props in this scene was minimal, the only one of significance being Hamlet’s notebook. All in all, this rendition of the ghost scene in Act I Scene IV augmented the text and indeed brought out further clarity in the play.