Mar. 1st, 2013

taelle: (Rylance Prospero)
I have this - possibly silly, possibly productive - habit. I do not really argue with people about tastes - if you don't like X or Y, fine, who am I to argue with you, even if you give the weirdest reasons for not liking it. But: I keep arguing with an unseen opponent, formulating for myself what I wouldn't say to an actual person.

So someone once said something about strongly disliking the Tsukigumi Hamlet, and citing as the reasong that Masao played 'an hysterical woman in a leather coat' instead of Hamlet, a role that requires a strength of spirit. Well, I never quite know what people mean by strength of spirit, and Masao is a woman and wears leather coat onstage, but. Dismissing someone's Hamlet as hysterical (not even touching on whether hers _is_) struck me as weird. I mean, Hamlet is so much interpreted that it seems to me that it will hold almost any interpretation as long as it's internally consistent - most certainly including the 'he's hysterical' one.

Which led me to thinking about various Hamlets I have seen (not that I have seen that many). I don't know much about the modern Japanese theater, and the only Japanese Hamlet I have seen besides Masao's is Nomura Mansai's - and compared to his Hamlet, Masao's a fount of serenity by any measure. Might it be a common tradition of dramatizing and overdramatizing? I never can analyze anything properly, because any analysis of mine turns into 'I know too little, and I need context'.

Also, I need to rewatch the Tsukigumi version, but instead I am watching the BBC one with Derek Jacobi (I tend to use the BBC late 70s-early 80s set of Shakespeares as a control group for anything). And dimly thinking a lot of things including how Hamlet really felt about his father when he was alive, and how much the meeting with the ghost looks like a dream.

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