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.