A melancholy prince who wanted to avenge his father, but was unable to act. Under the gray tone, in a closed room, Hamlet, played by David Tennant, is mild-mannered for a while, and mad and silly at the same time. During the prince's monologue, the other actors hurried off the stage, leaving only the four high-backed chairs behind them, and they treated the guests with seriousness. This is a scene from the 2009 Royal Shakespeare Company's Hamlet film. The whole play tells the prince's revenge road in a modern way, without too many scene switching, just completed all the performances in a simple and luxurious palace.
In the form of a stage play, the body has more emotional appeals. The actors are like passionate dancers, stretching and jumping. The director also asked the mad prince to put on T-shirts and jeans, for fear that the inner emotions will be limited by the clothes and cannot be displayed generously. Although Ophelia's role in the original book is very light, the actress who plays Ophelia in this play is particularly impressive: when parting with her brother, a condom is found in her brother's suitcase, and the plot of brother and sister bickering increases There is a bit of humor; the prince goes crazy and tells the audience through Ophelia's mouth, this indirect description is full of tension; when the prince ruthlessly rejects, she burst into tears and fell on the bright and cold reflective floor. The actress takes advantage of her language and posture, combined with the character's kind nature, to win the love of the audience.
The complexity of "Hamlet" requires that the actors' acting skills need to be particularly layered. The old king is very rigid, the new king and his mother are trying to usurp the throne, and Hamlet is trying to set things right. David Tennant's clever interpretation of Hamlet, based on the portrayal of the contradictory relationship with his mother, the confession is progressive, intertwined with anger, fear, disappointment, and nostalgia; coupled with a strong "sense of movement" And a wealth of small movements, from the floor to the bed, from the chair to the mirror, the performance is very contagious. It is the exaggeration and intensity unique to the stage language that brings a strong tension to the characters.
The addition of the monitor is the biggest highlight of the show. The monitor has the function of listening, investigating, and finding out the truth. With the help of monitors, surveillance activities have become more mysterious, and we have no way of knowing who is behind the scenes. Every time the scene changed, the monitors gave us a panoramic view of where the story took place. In "The Mousetrap," Hamlet carries a video camera himself to watch the king and queen behave in a fake video. Surveillance footage is still popular in modern times as a tool for exploring the inner thoughts of characters. Last year, I watched the Belgian dance feature "Beyond" in Beijing, where the identity of the cameraman was added to monitor the protagonist's every move. Later, when I watched Meng Jinghui's "Letter from a Strange Woman", the actress confessed with a DV in her hand. Whether it is subjective surveillance or objective surveillance, as Lin Zhaohua said, "everyone is a Hamlet", privacy is no longer in the video age, and people are controlled by cold machines all the time.
The 2009 version of "Hamlet" today, its success lies in the original presentation of Shakespeare's lines, and the actors' fluent and natural pronunciation is admired. Conservative and modern blend, making this edition an adaptation of a classic. At the same time, the Royal Shakespeare Company, which was born in the United Kingdom, is a bit of a law-abiding company, with modern elements and lack of pioneering courage. The author believes that with the enrichment of human life experience and expression skills, Shakespeare's plays will surely last forever. People still have a strong desire to actively look for the footprints of their predecessors, express their confusion about the new world urgently, and then start a new round of dialogue. .
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