지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2008.9
- 수록면
- 483 - 515 (33page)
이용수
초록· 키워드
오류제보하기
Since A. W. Pollard invented the term "bad quarto," in Shakespeare's Folios and Quartos: A Study in the Bibliography of Shakespeare's Plays 1594-1685(1909), the first quarto of Hamlet has been almost habitually called just as the "bad" one. In fact, Q1 Hamlet has many flaws such as about half of the length of the more familiar second quarto and folio versions, the uneven verbal texture and the simpler characterization, etc. We can find, however, the bad Hamlet is not so bad as it has been thought, if we read the text closely and reconsider its value, in terms of performance and separately from the other longer texts.
Above all, the radical abridgement of two hours' traffic, which Q1 Hamlet shows, must have been more suitable for the stage production. As Kathleen Irace says, the neatness of the difference suggests that this structural change might have been a deliberate theatrical alteration designed to speed the action(11). The running time of Q2 or F should be more than 4 hours, which is extraodinarily longer than 2 or 3 hours of the usual productions in the Elizabethan period. The time of 4 hours should be too long for the audience, especially for the groundlings who should stand to see the performance.
Q1 has not a few alterations of even famous lines and many spelling errors. One of the most noticeable altered lines is "to be or not to be, ay, there' point." But this is not just the result of a reporter's flawed memory. Whereas "that is the problem" should be spoken in the way of internal soliloquy in which the actor communes with himself, "ay, there's point" must be delivered directly to the audience as a Hamlet's own comment on the line of 'to be or not to be' because he enters, reading a book. "Ay, there's point" is supposed to reflect the Elizabethan acting style which tries to contact with the audience as often as possible. Many of spelling errors in Q1 are not quite different from the common cases, usually found in most early modern texts. Additionally, like 'trapically' which is a pun on 'tropically,' some misspelled words are intentionally coined for more theatrical effect. We must also give attention to the fact that Q1 keeps or more actively uses the couplets which would verbally decorate the last moments of the important scenes and the whole lines of the play within a play in Hamlet.
Q1's characters seem to be still simpler than Q2's or F's, but they must be more theatrical. Q1's stage directions describe characters's action or the dramatic situation most detailedly among three Hamlet texts's. Even though Q1's Hamlet doesn't speak "the rest is silence" at his last moment, the very scene just after his death must be silent for a few seconds until Fortinbras and his soldiers appear on the stage. Q1's silence hidden between lines might be able to have voice when it has a space of the stage. As Ann Thompson and Neil Taylor insist, Q1, if staged with speed, energy and talent, not only may provide us with evidence about the nature of a performing text in Shakespeare's theatre, but may even, as theatre, be 'not bad, but excellent'(37).
Above all, the radical abridgement of two hours' traffic, which Q1 Hamlet shows, must have been more suitable for the stage production. As Kathleen Irace says, the neatness of the difference suggests that this structural change might have been a deliberate theatrical alteration designed to speed the action(11). The running time of Q2 or F should be more than 4 hours, which is extraodinarily longer than 2 or 3 hours of the usual productions in the Elizabethan period. The time of 4 hours should be too long for the audience, especially for the groundlings who should stand to see the performance.
Q1 has not a few alterations of even famous lines and many spelling errors. One of the most noticeable altered lines is "to be or not to be, ay, there' point." But this is not just the result of a reporter's flawed memory. Whereas "that is the problem" should be spoken in the way of internal soliloquy in which the actor communes with himself, "ay, there's point" must be delivered directly to the audience as a Hamlet's own comment on the line of 'to be or not to be' because he enters, reading a book. "Ay, there's point" is supposed to reflect the Elizabethan acting style which tries to contact with the audience as often as possible. Many of spelling errors in Q1 are not quite different from the common cases, usually found in most early modern texts. Additionally, like 'trapically' which is a pun on 'tropically,' some misspelled words are intentionally coined for more theatrical effect. We must also give attention to the fact that Q1 keeps or more actively uses the couplets which would verbally decorate the last moments of the important scenes and the whole lines of the play within a play in Hamlet.
Q1's characters seem to be still simpler than Q2's or F's, but they must be more theatrical. Q1's stage directions describe characters's action or the dramatic situation most detailedly among three Hamlet texts's. Even though Q1's Hamlet doesn't speak "the rest is silence" at his last moment, the very scene just after his death must be silent for a few seconds until Fortinbras and his soldiers appear on the stage. Q1's silence hidden between lines might be able to have voice when it has a space of the stage. As Ann Thompson and Neil Taylor insist, Q1, if staged with speed, energy and talent, not only may provide us with evidence about the nature of a performing text in Shakespeare's theatre, but may even, as theatre, be 'not bad, but excellent'(37).
#나쁜 『햄릿』
#『햄릿』 Q1
#『햄릿』 Q2'『햄릿』 F
#공연본 텍스트로서의 Q1
#Q1의 언어
#Q1의 구성
#Q1의 등장인물
#순회공연
#셰익스피어
#토마스
#키드
#캐슬린
#아이레이스
#앤 톰슨
#닐 테일러
#the bad Hamlet
#Hamlel Q1
#Hamlet Q2
#Hamlet F
#Q1 as a performance text
#Q1's language
#Q1's plot
#Q1's characters
#performance on tour
#Shakespeare
#Thomas Kyd
#Kathleen O. Irace
#Ann Thompson
#Neil Taylor
목차
Ⅰ. 들어가는 말
Ⅱ. Q1 『햄릿』의 언어
Ⅲ. Q1의 극 구성
Ⅳ. Q1의 등장인물
Ⅱ. 공연본으로서의 Q1
Ⅲ. 나오는 말: ‘나쁜 『햄릿』‘은 과연 나쁘기만 한가?
인용문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
극 『햄릿』과 햄릿왕자의 내면에서 작동되는 인과법칙
Shakespeare Review
1998 .12
-
A Synthesis of Lacanian Psychoanalysis and New Historicism in Explicating Hamlet’s Third Soliloquy
현대정신분석
2017 .08
-
『햄릿』의 유령
Shakespeare Review
1998 .12
-
『햄릿』 비평 : 18세기에서 1960년대까지
동서문화
1995 .12
-
〈햄릿-디 액터〉의 햄릿 이야기 연출하기
Shakespeare Review
2014 .06
-
『햄릿』의 각색과 영화적 변용
국제언어문학
2017 .04
-
1970년대 이후의 『햄릿』 비평
동서문화
2001 .12
-
갈등의 양상과 의미 : 햄릿의 독백을 중심으로
동서인문학
2010 .12
-
라깡의『햄릿』분석에 나타난 프로이트로의 복귀
현대정신분석
2007 .12
-
학술적 셰익스피어 번역을 옹호하며: 햄릿 번역에 대한 소고(小考)
고전 르네상스 영문학
2015 .01
-
『햄릿』에서 <햄릿>으로 : 디지털 콘텐츠로 읽는 햄릿의 재해석 작업 비교 연구
동서비교문학저널
2016 .03
-
[예술비평] ‘불온한 시대’가 햄릿을 죽였다고? : 서울시극단 창립 15주년 기념공연 〈햄릿〉
철학과 현실
2011 .06
-
고전적 풍자의 전통에서 본『햄릿』
Shakespeare Review
1999 .03
-
The Moral Motivation of Delayed Revenge in Hamlet
신영어영문학
1999 .02
-
실존주의 햄릿
고전 르네상스 영문학
2005 .01
-
"[L]ose the name of action" : The Paradoxical Meaning of Personal Autonomy in Hamlet
Shakespeare Review
2001 .09
-
『햄릿』에 나타난 항구적 인간 질의
Shakespeare Review
1999 .12
-
「햄릿」의 시적 스타일
신영어영문학
2012 .11
-
「햄릿」형의 한풀이
비평문학
1987 .07
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-840-002476325