From the tragedy of fate to the tragedy of character, this is the development of human social civilization, gradually stripping away the gods who dominate their own destiny. God's will is higher than man's consciousness, and Oedipus's doom is his inability to control his destiny. Man is lost and helpless before the Almighty God. In the Renaissance period, the role and status of human beings became more and more prominent, and the subjective consciousness of the protagonist determined his own success or failure. Hamlet's revenge is a personal dominant factor. In the play, the soul of a bitter, contradictory Danish prince is gradually plunged into the tragedy of revenge. Lin Zhaohua's "Hamlet" directed by Lin Zhaohua in 1990 derived the theme of "everyone is Hamlet" from the usurpation of power and revenge, "We face Hamlet today, not to face the prince who is revenge for justice, nor to face the heroes of humanism, we are facing ourselves, which is the most positive, bravest and heroic posture that modern people can have", and everyone or the person we meet may be Hamlet. There are no big scenes, staged in small theaters, putting aside complex props, costumes, etc., and completely setting the stage axis on the actors, which can show humanity. Lin Zhaohua's adaptation of "Hamlet" breaks through the shackles of traditional drama structure on performance, the interpretation of the complex mood of the characters, etc. The characteristics of modern theater, compared with the first exploration and practice of the small theater drama "Absolute Signal" directed in 1982, the awareness of modern drama in "Hamlet" is already sober enough Lin Zhaohua said, "The importance of this play is that it is the beginning of my march towards contemporary theater." Small theater drama in the theater, actors, sets and other aspects of the deletion of complexity, breaking the "frame" of large theater, originated from France at the end of the nineteenth century, China in the 1990s set off a small theater drama boom, Lin Zhaohua has always been a practitioner on the road of exploration.
First, the number of scenes in the play, the adjustment of the plot and the handling of the character image break free from the shackles of traditional drama
Graveyard: Gravedigger Clown
A gravedigger played by Hu Jun
The Lin version split the first scene of the fifth act of the original work, "The Graveyard", into three parts, namely the first scene of the first act, the first scene of the second act, and the first scene of the fifth act. Each scene sets the tone for the follow-up, throughout the play, and the dialogue between the two gravedigger clowns at the beginning of the second act informs Ophelia of the final ending. The pioneering re-structure, which does not stop at the opening to introduce the relationship between the characters and the characters, the comedic opening of the two clowns, the interweaving of tragedy and comedy, reflects the atmosphere of the chaotic and upside-down world, they are independent of the characters in the play, looking down on the characters in the play, without any emotion, holding a shovel, laughing at death with spicy and ironic lines, the conversation between the two is sometimes a comment on philosophical issues, sometimes a mockery of the magnate, but a cold-eyed indifference. Such decomposition can make the elements of comedy ease the stage atmosphere and relax with degrees. "Everyone is Hamlet", the tragedy of death cannot be escaped in the rebellion, and the strongest house made by the gravedigger is everyone's end. Lin Zhaohua cuts and adjusts the plot of the original work, the connection between each scene is compact, the performance rhythm is smooth, so that the audience is pulled by the plot, the thoughts are guided by the actors, there is no excessive incitement of emotions, so that the plot is more streamlined, reflecting the pioneering and experimental leap of the small theater drama.
At this time, the role played by Pu Cunxin was transformed from Hamlet to other roles
The swapping of characters is a common tactic in absurdist theater. The transformation and overlap of Hamlet, the King, and Polonius. The first exchange was during Hamlet's conversation with his uncle and mother, Hamlet instantly became king, leading the queen to flaunt the end, Claudius immediately changed from a face full of joy to a hearty, gloomy and sad Hamlet, the new king said Hamlet's indignation, and used her husband's identity to accuse the queen of vulnerability. When Hamlet decides to spy on his uncle in a "play-within-a-play" fashion, Polonius utters the prince's determination to take revenge and completes another conversion. The first two conversions to Ha, Ke and Bo finally read out the ultimate question of "survival or destruction, this is a question worth thinking about", which paved the way, whether it is the princely ministers or the common people, they must face the torture of this kind of questioning. The repetition of the recitation is not only what the characters in the play should think about, but also reflected on everyone at the same time. The queen narrates the scene when Ophelia committed suicide, the lines change from "she" in the original to "I", the queen is not a narrator but a personal experience, and the actor's tone at this time is as crisp as a girl. The queen and Ophelia have a similar ending, they are both sinking in the whirlpool of male strife, and this design makes the fate of the two echo. As the plot unfolds, gravedigger clowns have a new identity, they are Polonius, Kyrgyz Tun, Linghou and so on. There is no fixed who must be who, breaking the single performance structure, performing dislocation performances or double performances, forming a state of integration between roles, and the confusion and overlap of identities are the best verification of the characteristics of this era.
The characters are dressed in a rustic manner
For the focus of the whole play, Hamlet, his image is no longer the previous attire, but wearing dark clothes and pants, more like people in modern society, shortening the sense of distance of the times, and Hamlet on the stage weakens the side of the prince and the wise. The re-sculpting of the characters, seeing the most rustic and pure interpretation, the blurring and ordinariness of the danish prince's appearance, allows him to "be our brother and ourselves", deepening the underlying theme. Because of its ordinary appearance, Hamlet's monologue seems to be recounting our own joys and sorrows. The content of the Lin version is derived from the original work, Lin Zhaohua extracts the content he wants to express from the original work, adjusts the structure of the script, and realizes the effect different from it, while excavating the contradictions and wanderings hidden in the depths of the characters' hearts.