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#From Hamlet
asimpleram · 6 months
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Sometimes I forget hamlet is a classic lit character. In my head hes just my buddy. I forget he’s from the 1500s
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fang-venkas · 1 year
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There is something about classic literature that hits different - which is not to say that modern literature lacks depth - there is just something so incredible about reading something and knowing that these same words were consumed by people decades, centuries before you took your first breath. And they loved and felt the stories the way you do& despite all the time separating you you’re still connected…
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bloodybellycomb · 1 year
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Yeah no sorry but your boyfriend's positive traits of love and devotion has consumed him and he's been twisted into an obsessive, unrecognizable monster. Yeah, it's permanent, sorry
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emailsfromanactor · 3 months
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"Practically everything you can think of is in Hamlet; even homo­sexuality, if you look for it deep enough."
—Richard Burton, interview in John Gielgud Directs Richard Burton in Hamlet: A Journal of Rehearsals
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ghost--bot · 5 months
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cemeterything · 5 months
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i swear there's an unwritten rule that if you produce a period piece you have to cast at least one man with a fuck ass bob
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trek-tracks · 5 months
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Space, the final frontier.
That is the question:
Whether 'tis nobler in the mind to explore
The strange new worlds of our outrageous fortune,
Or to take arms against a five-year mission
And, by opposing, end it. To go—to seek,
Once more; and by “to seek” to say we find
The new life and new civilizations
Where man has gone not: 'tis a consummation
Devoutly to be wish'd. To go, to seek;
To seek, perchance to find—ay, there's the rub:
For in these voyages what dreams may come,
When we have boldly gone whence we have not,
Must give us pause—there's the respect
That makes a mission of so long a life.
For who would bear the Enterprise of time,
The starship’s wrong, admirals’ contumely,
The pangs of dispriz'd love, the law's delay,
The insolence of office, and the spurns
That patient merit of th'unworthy treks,
When he himself might make his voyage on
With a bare warp core? Who would tribbles bear,
To grunt and sweat under a weary life,
But that the hope of something to be found,
The undiscover'd country, from whose bourn
We travel and return, puzzling our will,
And makes us wish to solve those ills we have
And fly to others that we know not of?
Thus conscience makes explorers of us all,
And thus the native hue of resolution
Is glistened o'er with the stars of thought,
And Enterprises of great pith and moment
With this regard their currents warp ahead
And seize the name of action.
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kamehamehamlet · 1 month
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KamehameHamlet Archives: Freeza's Tail
Vegeta (and his helmet) have gotten a lot of love, but I wanted to highlight my other favorite piece of costuming: Freeza's tail! Read on to see it in action, and how it was made!
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Made of a super long industrial pool noodle (with some theatre magic modifications), this costume piece/prop whipped around stage behind Cayla with a twisted fluidity that tied together Freeza's look. I mean just look at how it hooks around the rock then lashes out when Cayla turns sharply.
Let's take a look at how it was made!
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The original idea for the tail was based on those wooden snake toys and I cut up a pool noodle as a protoype and sent the following video to our costume designer/magician Sarah Simon.
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Sarah took my less-than-half-baked idea and crafted the final form of the tail. She shaved down a large white pool noodle to a taper, and instead of cutting all the way through, she used precise slices at varying angles which allowed specific bends exactly where we wanted them. The diagram below explains it better.
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So why put all of this effort into this piece:
1. It's cool. Duh.
2. We needed to be able to pull off this moment.
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Thanks for reading! Oh and if you are thinking the following...
Wait a minute... you told us there wasn't a recording. So, what's this then?
The footage in the gifs comes from a short recording during tech sent to our fight choreographer to show how the choreo looked in the theatre. I'm combing through old videos of that time to find pieces worth sharing with you. Follow this blog to see these snippets or follow the links below to learn more!
More KamehameHamlet:
KamehameHamlet.com
Announcement Video
Announcement Post
Previous Archive Post
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saionjeans · 2 months
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i love miki and kozue so much because they are like a perfect distillation of the show’s themes in its purest form. miki is literally the one to coin the term “sunlit garden” as a central motif/narrative device/mechanic illustrative of theme throughout the show. the piece plays during utena’s memories of the prince. the sunlit garden has since gone to seed. kozue likens herself to a wild animal, dehumanizing herself through the logic of animalism while simultaneously refusing to be classified as livestock (nanami and anthy both get barn sequences; kozue fancies herself liberated). she still refers to miki as her big brother even though they are literally twins. their desires are not literally incestuous, but rather figuratively incestuous; incestuous only insofar as it is a tool used to the reify the sanctity of the nuclear family. their parents are divorced. they used to play piano together, but kozue was merely flitting her hands over the keys while miki assumed she was not only a genuine participant, but the true virtuoso between them. kozue sees sex in general as a vehicle of control, and that in participating in her own exploitation willingly, she can in fact liberate herself, and even gain the power to exploit others. miki views sex as something to be feared, a phenomenon relegated to the world of adults, and that if he simply ignores it, its consequences cannot hurt him. kozue is constantly impressing the frequency and depravity of her sex life to miki, while simultaneously protecting him from the consequences of this adult weapon being used against him. akio gets to her, and suddenly she no longer protects him, but rather encourages it. he is a prince, and she is a witch, a rose bride. they both play their roles. they are twins. yin and yang, light and dark, two sides of a mirror, a window that frames a false mythos. their commitment to their seemingly opposed yet shared delusion exposes its inherent fallacy through illustrating it so plainly. miki wants her to regress, kozue wants him to grow up. they both want to go back to that sunlit garden, but stasis is impossible. eternity is an illusion. their garden has gone to seed.
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unicornofthemidwest · 7 months
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Girls will see narrative foils who hate each other but can never be separated and be like "they should kiss"
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hamletthedane · 1 month
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Obtained a (digital) edition of Hamlet that - for some reason - decided to illustrate Horatio and Hamlet’s scenes using art lifted from Mark Twain’s first edition of The Prince and The Pauper. And frankly it’s incredible:
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I mean they’re not wrong for this choice, but it was definitely a choice
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binary-bird · 5 months
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heyyy scrolling through your hamlet stuff and i saw a post bout laertes and fortinbras and hamlet and horatio with the like face shapes (ex. hamlet being pizzafaced, horatio having a squarish face, laertes rocking a rhombus, etc.) so i was wondering what Ophelia's shape would be
i get that you're more focused on oc's right now but i would still love to see it :)
circle! but she starts to incorporate sharper elements into her design later in the play.
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this way she starts to mirror hamlet, who's also perceived as volatile and dangerous as a result of mismanaged grief.
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isan0rt · 10 months
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You know, when you consider Azure Moon as a self-contained narrative, the use of ‘unanswered questions’ and ambiguity as a reinforcement of the themes of the route are really effective. I honestly think having the route not address the Slithers was the best narrative choice IntSys could possibly have made given the themes of Azure Moon.
Like. The developers didn’t really expect people to actually play all the routes; they designed the game so ‘everyone would have a different experience.’ As a result, all the routes have very different themes and scopes. Azure Moon is the tightest, most character-driven narrative despite not being the shortest route.
And Azure Moon is about grief.
Grief hangs over the entire route; except for Mercedes, every single one of the Blue Lions is haunted by the Tragedy of Duscur and the unanswered questions surrounding it. Felix loses his brother directly, and his worldview and best friend to the aftermath. Ingrid loses her fiance, but also her sense of security; without Glenn, her people may starve, and her personal future is now uncertain. Sylvain and Glenn were the same age, so we can assume they were friends, though his loss is less direct; Sylvain is surrounded by people broken by loss, including his own father. Annette’s father leaves her family in disgrace over being unable to stop the tragedy. Ashe loses his foster brother to the aftermath; and later his foster father as well. 
Dimitri and Dedue lose everything.
All of them spend the whole route wanting to find answers and some kind of closure for this event. It drives the entire narrative for all of the Lions actually from Faerghus. Mercedes, meanwhile, stands as an outside observer to that tragedy - but she is also dealing with her own personal tragedy and unanswered questions about her brother, and that drives her during Azure Moon.
And the thing about grief is that sometimes you never get closure. But you still have to move on, anyway.
That’s the whole point of Azure Moon. Dimitri has to move on. All the Lions have to move on. 
Mercedes cannot regain her brother, whether you find out his identity or not in the route. She has to move on anyway. Dimitri cannot reconcile with his family, not with Rufus (Did Dimitri kill him? We the viewer can never really know for sure) and not with Edelgard. He never finds out whether Patricia wanted to kill his father, or whether she loved Dimitri at all (and we the viewer don’t, either). He has to move on anyway. The Lions never find out the cause of the tragedy.
They have to move on anyway.
Involving the Slithers at that point would not only add a bunch of last-minute narrative complications that aren’t necessary in Azure Moon, it would undermine the emotional impact of the route (in much the same way the last map of Verdant Wind does, honestly). The themes of Azure Moon not only don’t need to answer the question of the Slithers; not answering that question is the point. Bringing up the Slithers at that point would take all the air out of the personal drama the route takes its entire runtime addressing.
Dimitri hesitates at the end. He stops, and tries to look back, and Byleth stops him. He has to move on. He can’t keep looking back at Duscur. He’s got to walk forward. 
And that means leaving his questions unanswered. 
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ryfkah · 2 months
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having just read the emails from an actor rant on how hamlet should really only wear the classic all black outfit, I would like to argue back by proposing some alternate options that to me seem viable:
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ferhog · 1 year
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Okouchi, no! Wrong Shakespeare play! WRONG SHAKESPEARE PLAY!
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