2001

The Shakespeare Conference: SHK 12.1142  Wednesday, 16 May 2001

[1]     From:   Nancy Taylor <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 15 May 2001 12:41:31 -0400 (EDT)
        Subj:   Re: SHK 12.1113 Branagh's Textual Choices

[2]     From:   Drew Whitehead <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 16 May 2001 07:57:17 +1000
        Subj:   Re: SHK 12.1127 Re: Branagh's Textual Choices


[1]-----------------------------------------------------------------
From:           Nancy Taylor <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 15 May 2001 12:41:31 -0400 (EDT)
Subject: 12.1113 Branagh's Textual Choices
Comment:        Re: SHK 12.1113 Branagh's Textual Choices

Toby,

The article you're looking for you is short, but I have a copy and will
fax it to you if you send me your number.  Other articles that might be
of interest are Mark Thornton Burnett, "The 'Very Cunning of the Scene':
Kenneth Branagh's Hamlet,"  Literature Film Quarterly 25.2 (1997):
78-82; and Gary Crowdus, "Words, Words, Words: Recent Shakespeareans
Films," Cineaste 23.4 (1998): 13-19.

Nancy Taylor
Tufts University

[2]-------------------------------------------------------------
From:           Drew Whitehead <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 16 May 2001 07:57:17 +1000
Subject: 12.1127 Re: Branagh's Textual Choices
Comment:        Re: SHK 12.1127 Re: Branagh's Textual Choices

>The complete screenplay of Branagh's Hamlet is reprinted in a book
>entitled "Hamlet" published under Branagh's name and copyright by W.W.
>Norton & Co.  in 1996.  On p.174 of the trade paperback he says that the
>basic text is F1 with additions from Q2.

That is very interesting because the basic text to the "full text" audio
Hamlet is Q2 with additions from F1.   I wonder why the change of
heart?  Could he be bowing to more recent editorial theory, and if so,
then why in the film version of 4.5 does he has deliberately go against
his chosen copy text to present the "weaker" Gertrude from Q2?

Drew Whitehead

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