The Shakespeare Conference: SHK 17.0648 Wednesday, 12 July 2006
From: John W. Kennedy <
Date: Tuesday, 11 Jul 2006 12:42:56 -0400
Subject: 17.0619 Hamlet Q1 in Performance
Comment: Re: SHK 17.0619 Hamlet Q1 in Performance
Here follow a couple of passages from e-mails from Paul Barry, which he
has kindly permitted me to post:
In his splendid book on playwriting, /Shakespeare's/ /Game/, William
Gibson postulates that the structure of the First Quarto is probably how
Master Will first wrote the play. The major structural difference
between this script and those that followed is the placement of the "To
be or not to be. . . . ." soliloquy and the "nunnery scene" that
follows. I agree with Gibson. The last two scripts I directed used the
_structure_ of the First Quarto, the text of the First Folio, and added
the "How all occasions do inform against me. . . . ." soliloquy. So much
If the above isn't clear, follow these beats, starting with the Arden
II.2. Note that Ophelia accompanies Polonius when he enters with
Voltemand and Cornelius at II.2.58.
1. Polonius proposes that he and Claudius eavesdrop on Hamlet's
encounter with Ophelia. They hide behind the arras, leaving Ophelia on
stage. Gertrude exits.
2. Hamlet enters and does the "To be or not to be. . . . ." soliloquy,
then the nunnery scene with Ophelia; Hamlet exits.
3. Ophelia does her "Oh what a noble mind. . . . ." soliloquy.
4. Polonius and Claudius re-enter and play the brief 3-scene that the
Arden designates as III.1.164-190.
5. Claudius and Ophelia exit. Hamlet re-enters.
6. Return to II.2.171 and the Hamlet/Polonius "fishmonger scene" through
the end of II.2 and the "Oh, what a rogue. . . . . " soliloquy.
7. Play III.1.1-28 as written, then CUT the rest of the scene and go
directly to III.2, the rehearsal. No changes in the rest of the play.
These juxtapositions maintain the flow and drive of the play and solve
the "To be or not to be. . . . ." dilemma. Hamlet doesn't backtrack
after he makes up his mind with "The play's the thing / Wherein I'll
catch the conscience of the King."
Sure, but what's the question? Q-1 is there, on the page. So is Q-2
and all the Folios. All I did was what every, almost every, director
does: I came up with a script that was a combination and editing of the
available texts, and I produced my composite script twice, first in New
Jersey in 1988, then in Des Moines, Iowa in 1994, though with completely
different casts, except for Geddeth Smith, who played Polonius in both.
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