The Director's Notebook for Hamlet by William Shakespeare Personal code: hyz646

Theatre in context:
Authors life
Considered England's greatest playwright and dramatist, his works beloved worldwide in over a hundred languages, and a personal life
shrouded in mystery,William Shakespeare
Permeates through history as one of the most influential writers to have ever lived.

Believed to have been born on 26 April 1564 which we can extrapolate from baptismal records indicating he was baptised on the 29th, As
was customary we can assume parents (John Shakespeare and Mary Ardern) waited three days after the birth of their son before his
catholic baptism at Holy Trinity Church, Stratford-upon-Avon.
Upon his death in 1616 Shakespear had penned at least thirty seven plays and collaborated on many more, mastering from the
historical,to the comedic,to the tragic.
As the youngest of eight children he was fortunate enough to attend school for some time, financed by his fathers then illegitimate
trading of wool alongside his mayoral salary. After the illegal trade was uncovered Shakespeare's fees could no longer be paid and thus
ended his affair with formal education never excelling past a local grammar school.
Married at the mere age of Eighteen to the considerably older (Twenty six) year old Anne Hathaway,then was pregnant with their eldest
daughter susanna. As a young man newly a father this severely minimised shakespeare prospects in life, as a father he was illegible for any apprenticeships thus confining
him to the lower level of career, ironically a path that if not taken would have made it unliking for the young shakespeare to willing stoop to the low societal level that actors
of the period inhibited. Shakespear went on to have a further two children with Anne, a pair of twins Hamnet and Judith. The long commute from stratford upon avon
required him. He later moved the majority of his work to a London apartment, seeing his children and wife almost solely on holidays.

This full thrust into the London play scene led to him becoming part of ‘The King’s Men’( previously known as ‘ lord chamberlain's men’) who were a company of actors
under the patronage of King James.

The Period, Cultural Conditions of the time and Influential Events

Hamlet is believed to have been written and published sometime between 1599–1601 and published in a quarto edition in 1603 from an unauthorized text, placing the
text's origin in the middle of a massive cultural upheaval that England was going through in the early 1600.
Shakespeare's most potent works are often described as being a ‘product of the huge cultural shifts’ and hamlet is no exception. The presence of the English Reformation
was occurring in England causing tension would have weighed heavily on Shakespeare's work and social life. The debate divided the nation between the Catholic
churches and the English ones. Through a change in monarchy the official religion of england became
Protestantism and allusion to this was expected.
Christian notions and practices are displayed through the acts of repentance, as King Claudius is seen praying for forgiveness. Protestant ideals are also in place as the
after-life and one's mortality are commented on by Hamlet. The idea of Catholic purgatory should be noted as Hamlet believes it is where the Ghost of his father resides.
Hamlet displays a conflict of religious denominations as a reflection of the public sentiment in england.

The Theoretical Context

Original title: The Tragedy of Hamlet, Prince of Denmark.

First Official performance: 1609
Genres: Tragedy, Drama

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 First location performed: Globe theater
Notable elements:
Male actors would have portrayed the roles of
Gertrude, Ophelia, and the Player Queen in "The Murder of Gonzago."

Style notes:
‘Style in Hamlet frequently functions as an extension of character: the way characters speak gives us insight into how they think’-(Hamlet: Style, n.d.)

The most notable performance of Hamlet that interested me was the earliest one on record, while not an official performance It was said to be performed in 1607 on board
the East India Company's ship, The Dragon, lying off the coast of Sierra Leone. The captain notes in his journal that the acting of it kept 'my people from idleness and
unlawful games, or sleep'.
Unclear how the crew obtained the plays' contents while aboard (most likely relying on the captain's memory of the performance) but nonetheless it instilled in me some
initial concepts as to how I would stage my production, potentially in a similar fashion. The Captian William Kneeling was a fanatic fan of shakespeare and coerced his crew
to perform In addition, Richard II and Twelfth Night on the same voyage to the Spice Islands

Formal elements of the original production

This sketch of the Swan (right )1 is the most complete we have of any theater of the time. The Swan was built in 1596; Shakespeare's
company, the Chamberlain's Men, played there in the same year; from this we can extrapolate most standard elements of the Globe.

“The stage was broad and deep, measuring approximately 43 feet from side to side and 27 feet from front to back. A roof, supported by two
pillars, protected the players from inclement weather.”

The theatre was otherwise open to the elements rain or shine the performers would persevere. Patrons of relatively modest means paid a
penny to stand in the "yard" encompassing the stage on three sides to shield them from outer unpleasantries. The widespread poverty that is
often married alongside depictions of Shakespearean times pairs alongside the lowest level of patron as they were often the most
downtrodden and impoverished of society, known colloquially as the “groundlings” by hamlet.

Note: the authentic experience of Hamlet was exposed to the elements and under an open sky.

As for stage effects, two large doors at the back of the stage, as shown in the Swan drawing (above) , opened into what was known as the
"tiring" or tiring house for the actors. A gallery over the back wall could be used for entrances "above," but could also provide seating for spectators. One of Hamlets benefits is
its minimal reliance on props and scenery making it one of the more accessible of shakespeare works to perform.If the globe itself was truly similar to the swan the building
itself provided a handsome milieu for action that could be imagined to take place, in Hamlet, at the court of Elsinore or on the battlements of the castle or in a graveyard.
The raised stage that can be seen in the diagram above could potentially have held additional trap doors for ophelia's grave and the appearance and disappearance of Hamlet's
fathers ghost.

The Ideas presented in the play

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(The Swan :: Life and Times :: Internet Shakespeare Editions, 2011)
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Main themes of Hamlet

● The theme of the past

● The theme of revenge in Hamlet. There are two young men bent on avenging their father's death in this play
● The theme of corruption.
● The theme of religion
● The Hamlet theme of politics

‘The Tragedy of Hamlet Prince of Denmark’ resides in the collection of plays written between 1606-1608 that reflect a much more somber/existencial period of Shakespeare's
life. Shakespeare's life in this period can be described as being dark and melancholic, Following the death of his son his mind can be seen drifting in search for a greater
purpose clearly displayed in the existentialism that has become synonymous with the play, he begins to portray life as miserable with its many tragedies and the ever
prevalence of death inescapable and all encompassing (Hamlet, Macbeth, King Lear).
The death of his son Hamnet (age 11) most likely of the bubonic plague, the passing of Shakespeare’s father, mother and sister all in quick succession of each other provided
Shakespeare with a firsthand understanding of the processes of grief and its role in society.The ideas of how it weighs on the conscious that is so deeply depicted is a true
ringer for someone writing from personal loss. Hamlet scrabbles with his faith in what is right as he seeks reasoning for his fathers death directly mirroring Shakespeare's own
search for a reasoning behind these tragedies in his life.
Witnessing these deaths served to have connection with the death of Polonius, Hamlet, Gertrude, Laertes and Ophelia. The heavy familicidal themes in Hamlet either indirectly
or directly indicate Shakespeare's expression of the personal role he felt he played in his family members demise, a therapeutic piece of survivor's guilt.
Hamlet's Renaissance view on his world develops him both as an Elizabethan-era humanist and nihilist. Through Hamlet, Shakespeare illustrates humanity's struggle with the
purpose and meaning of man.
Shakespeare,more than any of his other plays, presents these ideas of existentialism uniquely directly through one viewpoint, Hamlet's inner musings.
Theatre processes: Artistic responses and live theatre experiences
Hamlet is a text I have loved for many years and would consider myself fairly familiar with.
I have had the pleasure of viewing it live in the Issac theater royal when the pop up globe came to Christchurch.
However I haven't read the formal text in quite some time so my reaction to the text will still be fairly fresh in its impressions.
I was initially struck by the continuous references to the characters being stuck in a stagnant moment in time.

The theme of the past

Hamlet is widely regarded as a play ahead of its time surging forward with its complex ideas; however the tragedy of hHamlet itself is a text that fixates on the past.

In Hamlet's opening scene he agrees to not return to university, fixates him in the role of a child in society's eyes; his opening scene sets a pattern for the remainder of the play
that every choice he makes undoes him and further tethers him to the past rather than propels him forward.
As this text is believed to be a personal piece written more to satisfy Shakespeare rather than appeal to the masses it aligned well with his life in this period. Having just lost
both his father and child in a short period of time Shakespeare was forced to ruminate on not only what awaits him in his further life (Brought on by his fathers death), But also
who he used to be, his childhood, His son having passed away at only age 11 is forever young.

The sense that his son Hamnet is the inspiration for Hamlet would largely match up in relation to the sense that Hamlet forever solidified himself in the role of a child in the text
much as how Hamnet will forever be remembered.

His obsession with his father’s death is described as ‘unmanly grief’ by Claudius who reminds him that nature’s ‘common theme is death of fathers’ (1.2.94, 103–04) Something

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Shakespeare may be telling himself throughout the text.

Hamlet's only strong affections are expressed towards the dead. To Yorick, to his father, Hamlet is unable to express strong emotions to the living,seemingly relishing in loving
too late to those who cannot return his sentiment. Even his betrothed Ophelia shows contempt for, screaming and condemning her throughout the text until her funeral. Once
again when the object of his affection is gone and behind him only then does he realise his love for her and proclaims it.
As the trip from stratford upon avon was a large journey from the center of London Shakespeare
Resided predominantly in a London flat, only likely visiting his family on holidays. After Hamnet's death, time not spent with his family likely weighed on Shakespeare's mind,
having many opportunities to express his love for his only son and neglecting them.
If we assess Hamlet through this personally reflective lens Hamlet's affection for the dead presumably mirrors his remorse for his own family, neglecting them for a favoured life
until it was too late.

Hamlet's sense of stasis is a psychological condition, perhaps Shakespeare aimed to overcome his own stasis through the process of this work.
‘must I remember?’ (1.2.143). The ghost of King Hamlet is the powerful visualisation of this teather to the past Hamlet is bound by, The ghost is seemingly spiraled into a state
of recollecting his murder unable to move on unless revenged. The king laments to Hamlet that he is trapped in Purgatory (again referencing the stasis) while the ‘foul crimes’ of
his earthly past ‘are burnt and purged away’ (1.5.12–13). No life can continue till the balance known as the divine right of kings has
Been restored, The king was placed on the throne by god and his murder is a deviation from the chosen path. His demands on his son to right this are made in the past tense :
‘If thou didst ever thy dear father love’ ‘Revenge his foul and most unnatural murther’ (1.5.23, 25).

One could even argue that from this point forward in the play no time has passed whatsoever.
In my production I want to replicate the sense of timelessness that the text has created and mimic the stagnant state of Shakespeare's mind on stage giving the audience the
sensation they too are trapped alongside hamlet. My background in visual arts also compels me to create a production that is visually stunning in all regards, decorating the
venue as well as the stage with potentially baroque or romantic art influences intermingled in the set and venue design.

Link to a theatre performance I have seen #1

Performance: Twisted: The Untold Story of a Royal Vizier

Producer: Team Starkid
Scene: Act 2 Scene 7
Characters: Ja’far
Directed by Brian Holden
Genre: Musical

“Twisted: the untold story of a Royal Vizier” is the seventh original musical from Team Starkid to be released online in entirety without additional charges.

Twisted is the untold story of the royal vizier in disneys ' Aladdin’ and follows his journey to the villain he is regarded as today.
Scene summary:
In this title song (Twisted), Ja'Far realizes that his efforts to do good will never be seen as such. He finds himself in an equally flawed situation, where he will be seen as a
villain no matter what he does or how good his intentions may be.
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His character is confronted with the realization that the people will never like him, despite all this he chooses the right path resigning to the shadows and no longer fighting for
adoration, a dramatic shift in his character. He finally resigns to the fact he will forever be an unsung hero despite all this he does what's right, this scene is stripped back to its
core elements in order to bare the characters essence in the full focus to the audience.The two largest formal elements that the director has utilised to show tension and create
an atmosphere is music and lighting to create a deeply intimate moment in the actor audience relationship.

The scene initially bathed the solo figure in a blue and purple light .
Blue lighting may have been chosen to illuminate a scene because this scene is considered to be cold in mood. Ja'far is lamenting his situation.
The lyrics can be read as the characters inner monologue very similar to a soliloquy,
The lyrics are existential and lamenting in nature with lines such as:

“Will anybody even care?

The question then is whether 'tis nobler in the mind to be well-liked but ineffectual, or moral but maligned

I'll never be a hero who all the citizens adore

But if I hide to save my life, what has my life been for?

What has my life been for?”

(Twisted, n.d.)

Similar themes to the immortal “to be or not to be” soliloquy Hamlet to the extent where the character references it “Whether 'tis nobler in the mind to suffer…”
Referencing famous literature has been utilised in this text to add gravity to the spoken thought of this character however not too much of the text is quoted so the audience
is not distracted from the core message of the speech. There is a subconscious recognition of the reference propelling this text in their minds as a notable piece of text
further creating a moment of high tension and character progression.

The lighting comes from all sides of the stage so the character's face is fully bathed in light focusing the audience's attention. Minimal background is on the stage there are
no obstacles for the light to hit creating an open uncluttered stage.
The lack of props and scenery creates a beautiful effect where the audience feels as though they have been drawn in to the inner psyche of the character, He is occupying
a space not as a stage but as himself debating in his mind's eye its a deeply personal and open moment to share with the audience the barriers between the actor and
public is broken as he invites them into his mind. This is aided by the character's breaking of the fourth wall and direct addressing of the audience.

Upon the realisation that he will have to be the villain exhibited in the lyricial shift :

“But I will never swerve

I'll give them all the unsung antihero they deserve

I've nothing left to lose

So the only path to choose is twisted”

The moment of tension I am specifically looking at occurs midway through the song,

There is a sudden change in the music that has previously been secondary to the singing in an almost acapella arrangement, Swells greatly the volume picks up and the

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 audience is swept with him to his transformation. The cool purples and blues that have accompanied this level headed character throughout the first act flashes to a dark
red although not a bloody pigmentation the blue undertones are still present but they have been abruptly shoved backward as he suppresses the emotions these colour
represent, a sense of his prior self still exists in this version of ja’far but it has taken a backseat to the shocking red that overpowers and floods the figure. The change is
obvious but there are still deliberate efforts to exempt him from being perceived as needlessly angry. The director has carefully balanced the musical and visual elements
on the cusp of creating a powerful statement without overpowering the scene with solely external elements taking away from the actor.

The viewing and dissection of this scene will impact my directorial direction,
it creates the perfect balance between highly theatrical formal elements and a realistic acting style without undermining the authenticity of the scene.
The combination of the bright and swelling musical elements and the serious nature of the scene displays perfectly the balance i wish to achieve in my production to create
a fantastical and oversaturated display of life. My initial concern of the visual display i wished to create was that these powerful colours would take the audience out of the
piece however the above performance is an exemplary display of what is possible.

Link to a live theatre performance I have seen #2

Performance:The guy who didnt like musicals

Producer: The Court Theater
Scene: Act 2 Scene 7
Characters: Paul , ensemble
Directed by Melanie Luckman
Genre: Musical

“The Guy Who Didnt Like Musicals” is the eleventh original musical from Team Starkid to be released online in entirety without additional charges.

Scene summary:
Paul enters the starlight theater armed with grenades intending to attack the meteorite and kill the alien lifeforms due to his proximity to the meteorite Paul bursts into song
himself before fighting the virus pulling the pin on the grenade killing the virus, the infected, and himself.

How the director created moments of tension, emotion, atmosphere and/or meaning
The two most overarching formal elements that the director has utilised to show tension and create an atmosphere is music and lighting to create a deeply intimate moment in
the actor audience relationship, This has come to be expected from this company as a favoured technique. However in this specific scene the utilization of ensemble is highly
important to the overall success of the scene.
Stylistically I believe it's fair to say that ‘The guy who didnt like musicals’ is a melodrama while at the same time it is composed to be a mockery of the narrow number of plot
points that a show is permitted to exhibit. Despite its tongue and cheek nature it still follows a distinctly melodramatic composition.
This particular scene is the climax of the show revisiting key elements of the plot that have been previously peppered in, the alien ensemble entirely consists of characters
we've previously encountered creating an interesting split of motivation in the audience of who we want to triumph.
In a typical melodrama the audience is encouraged to cheer for the ‘hero’ and boo and condemn the ‘villain’. However in this scenario the audience has come to know these
characters as little as two scenes ago they were being rooted for, the line of who they are to root for has been blurred.
One of the characters exclaimes “ That's right Paul, all your best friends are here.”
And this is certainly true though Paul is a recluse in the beginning the audience have watched his relationship with these characters develop making their destruction not
clearly able to be defined as ‘good’ or ’ bad’ in the emotions of the audience. Tension builds as the former colleagues and friends of Paul lurch towards him slowly , now
infected.

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 A key element of the staging of this production is a versatile backdrop of panels that can be selectively illuminated to represent a variety of things allowing for a visual
indicator for the audience while simultaneously allowing the stage to remain relatively clear and further focus being secured on the figures on stage.
It is used as a prop throughout
representing :
● Amazon Alexa
● Radio
● Jail cell

The LED nature of these backlights also allows for an array of colours to fit the emotion and further flesh out the atmosphere of certain scenes.

Due to Paul's proximity to the meteorite in this scene his apotheosis begins with the actor clutching at his chest and convulsing shifting between the singing infected joining in
with the aliens song and our protagonist greatly protesting this.In Between these lurches the backdrop flashes between a white (Paul) and a radioactive blue (The Infection).
The previously jaunty chorus song consisting of high tempo beats and a plethora of different instruments drops away in sync with the ensemble to a contemplative slow piano
tune.
The juxtaposing atmosphere of the scene is a jarring contrast and thus the audience is shaken into an acute awareness of the emotional importance of this moment.
The slowly encroaching infected that have been approaching Paul as he changes then drop to the floor suddenly (see Fig.1)
The light illuminating them drops away to a single spotlight on Paul
(see Fig. 2).

How this might influence my directorial intention:

I believe I should strive to create an equally poignant moment of tension between the audience and the actors by having a
deeply pivotal moment that directly follows a highly strung moment.
This scene demonstrates the perfect pace of tension.
too slow and the audience loses interest and if played too fast these moments can feel cheap and underwhelming. Specifically
I believe this technique could be effectively applied to Ophelia's death. Also the concept of a series of a select few versaille
props appeals to me for a production such as Hamlet where the text is of so much importance it may be wise to hone the
audience's focus on the aspect I wish to highlight.

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Link to a live theatre performance I have seen #3

Performance: A Streetcar Named Desire

Producer: Court theater
Scene: Act 1 Scene 6
Characters: Blanche Dubois, Mitch
Directed by Brian Holden,
Genre: Southern Gothic

Scene summary:

After a night out presumably to an amusement park Mitch and Blanche converse on the doorstep of the Kowalski home, After a back and forth conversation Blanche invites
Mitch inside for a nightcap.
After a discussion regarding her age which she refuses to disclose she pours herself a second drink and begins to disclose what happened to her first love detailing her
discovery of him in bed with an older male friend, How they went out dancing that night seemingly ignoring anything had occurred, Blanche telling her young husband that “he
disgusted her” whereupon he runs off and a single gunshot rung out as he took his own life.
This scene explains what I personally regard as one of the most pivotal motifs in the production, The Varsouviana polka.

The Varsouviana polka is played throughout the production, introduced here as the music that was playing when she last saw her young husband (Allan Grey) alive.
It plays whenever she feels remorse for his death, playing first in the first scene when Stanley inquires about her husband.
It is used as an auditory indication of Blanche's slowly slipping grasp on her reality, the tune often driving her to distraction as it occupies her psyche. We as the audience can
also hear the tune throughout giving us an insight to the inner workings of Blanche of which
The other characters are not privy to creating a sense of intimacy and require us to be linked to Blanche's character more than the others.

Playing increasingly often as the play wears on the director by clarifying the importance of the tune in this scene has insured we as the audience are conscious of its increase to
further aid our understanding of Blanche's mental state.

Blanche's young husband's death, who she deeply loved, marks the loss of her innocence and the event that triggered her mental states' gradual decay.

Likened to the initial crack in an alabaster vase, every time the polka plays the audience, (knowing its origin and meaning) can understand that she is being further chipped
away at. Varsouviana comes to Blanche in moments of panic when she can feel her grip slipping, remarking to Mitch that it only ever ends in her mind ‘with a gunshot’.

Explanation of how this might influence my directorial intention

This scene illustrated to me the importance of creating an understanding between audience and director that elements that are pivotal to the enjoyment of and understanding
the depth of the play.

The polka is a key example of an element that ,I believe, is important to immersing yourself in the production and may have been lost if this scene was cut from the viewing.

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Elements such as this intermigle to create an all encompassing experience that the audience can lose themself in entirely. Through the influence of this scene my production
will seek to create a cohesive set of motifs and symbolism that is explained when required, not only creating an easy viewing experience but also increasing the accessibility
and enjoyment of the piece by the audience who may have not had access to exceedingly high levels of theater education. It is very important to me that the production can be
viewed in all its emotional potence regardless of life experience.

Presenting theatre: The director’s intentions and intended impact

● Summary of my directorial intentions for the staging of the entire play text

As previously mentioned I want the audience to experience the physicality of the stagnant mindset of Hamlet throughout the production.

The text of Hamlet is timeless and has undergone countless changes. I feel there are little meaningful alterations to the text to be made, However my point of
difference will be shifting the audience's interpretation of the play. Instead of watching merely a production the audience will be watching Hamlet's own personal
purgatory, the events of the production having taken place after his death in the final scene. Aligning with the theme of the past that in my research i found is
heavily present throughout the text.

hamlet is forced to relive the events of the play, manifesting in moments of deja vu from Hamlet and other nods to the play not being a true experience for hamlet,
phasing in and out of being able to see the audience watching him.I want the space to be immersive and with heavy homage to old theater and classic art
influences. I want to utilize elements of minimalist theater to highlight the ideas of the text without distraction only key symbolic elements present in the versatile
space. There will be site specific staging in homage to the first production of hamlet; the stage will sit on the top deck of a sailing ship. This staging will alienate the
audience from any tethers to their lives further building on the atmosphere I am cultivating of being ‘adrift’ so to speak. Of the eleven characters nine pass away
during the text as they do so they will exit the stage and be seated in one of the two wings adjacent to the audience's seats to themselves watch the play
(excepting hamlet). The production will conclude with the characters reassembling on the stage in a tableaux vivants of the first scene symbolically resetting
representing the eternal looping nature of Hamlet's afterlife.

tableaux vivants: a picture, as of a scene. a picturesque grouping of persons or objects; a striking scene. a representation of a picture, statue, scene, etc., by one or
more persons suitably costumed and posed.

● Explanation of staging

During my theater studies in the previous year we briefly discussed “site specific theater” . It struck me as a very powerful element that could add a lot to my piece. Upon
further researching this i found the definition of ‘Site-Specific Theater:

“Site-specific theatre is considered to be any type of theatrical production that is performed at a unique, specially adapted location other than a standard theatre”

(Site-specific theatre, 2021)

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My hesitation regarding using this form of theatre mainly stemmed from a misunderstanding, mistakenly believing that this form of theatre would limit the props and set I could
implement, seeing as this is not the case I will be utilizing it.

Shakespeare set Hamlet in Elsinore, Above I have pinpointed on the map Kronborg Slot, a 16th century castle conveniently
located inland from the Nivå River perfect for maritime hommage production of Hamlet.

(Google Maps, n.d.)

I believe that staging my production aboard a boat would create an isolating and unique
environment. Paying homage to the earliest recorded production of hamlet (September
1607 on the East India Company ship, Red Dragon under the command of Captain
William Keeling on a voyage to the Spice Islands.) This endeavor required me to further
research productions at sea and elements they have to consider such as primarily the
weather.

Primarily the issues seem to consist around weather for outdoor productions to combate
this the viewings would be linked to weather reports.Here (left) you can see an initial
sketch bird's eye for what I am envisioning for the stage. The netting is highly important for cast safety
namely ophelia but this aspect will be explored further in her specific scene breakdown.

This sketch (right) is a frontal face on view on the stage, you can see the two side wings to be occupied
by the dead from the production and to the left of the main stage you can see an outstretching fixture.I
Intend to have a side profile of an outstretched treebrance mounted to a protruding plank ,hidden from
audience view, out off the side of the vessel above the net. I have not included an aisle for the characters
to walk down illustration but it is key that one is included.

Behind the audience for the entire production a raised casket will sit behind the audience. It is important it is positioned at the end of the
aisle and the audience has to walk past it to take their seats.Taking into consideration the production will be staged on a ship, seating will be
fixed in place as well as any props such as the coffin fixed to the deck and/or heavily weighted to prevent shifting.

The boat would ideally be stylistically similar to a 17th century galley vessel pictured below.

Russian Galley 1720

(MSW, 2020)

Initially my instincts were to utilise a more lavish vessel, however I fear that a greatly stylistic boat would take
away from the gravity of the production. a Russian galley such as the one pictured above would allow for an old
world feel without the excessive visual stimulation of an typical English vessel. The Galleys' large deck and
predominantly uncluttered central section create the ideal spacing for a stage to be built. My vision for this
production is a sleek homage to the history of theater, while Hamlet is bound by his past the audience of theater
goers are richly draped in the history of the medium they revel in.

Explanation actor audience relationship

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The actor audience relationship I'm seeking to create is a very complex one.
Granted the actor should be clearly heard and seen by all and the entire stage be visible to the audience, Without an audience there is no Theatre. the audience will be
both unseen and seen by the characters in the Play, Hamlet will it Norman's be allowed to see the audience gasping at their faces asking them why they look on and let his
friends die
As he fades in and out of his growing Madness I want the audience to feel as though they are the illusion that Hamlet sees alongside the face of death,Pithy asides in his
triumphs.
As they are unsure if they are seen or unseen by the characters before them I want to prey on that uncertainty to leave them in the dark and confused to sympathize with
Hamlet further. Expressionism is heavily influenced for me here, the emotion from my production is the most important part.

● Explanation of set design/ Backdrop

The backdrop will consist of a series of wooden frames stretched with canvas to create an oversized lightbox to which different backgrounds can be projected onto as well as
utilizing shadow techniques to create an uncluttered simplistic background taking influences from shadow puppet theater such as the ones shown below.

(Chinadaily Shadow play family, n.d.) What I'm looking at in this influence
:The architecture specifically in this still frame is similar to what I am
envisioning for the largely indoor scenes of this play.

(Gupta, 2013)

What I'm looking at in this influence :In this example of a backlight shadow
background they have achieved a sense of depth in their work via multiple layers
spaced behind each other overall providing a richer background while still
achieving my goal of an uncluttered and distracting backdrop. The overlapping
layers of the moor remind me of the cold and deathly aspects of the outdoor
scenes in this production.

(Shadow puppet progress, 2016)

What I'm looking at in this influence :

In this second example you can see above the end product and below you can see the rig used to create this image, This is very similar to the
rig i intend to use to create my shadow backgrounds for my production.Consisting of three distinct layers of foreground midground and
background each separate in succession of one another. Each layer would consist of a roll on either side so when both turned the image would
shift utilising the 19th century moving panorama technique.. Moving panoramas were often seen in melodramatic plays such as the ones i have
studied prior to my directorial intentions.

It became a new visual element to theatre in and helped incorporate a more realistic quality. Not only was it a special effect on stage, but it also
served as an ancestor and platform to early cinema and animation creating an older world feel to my production and further adding to my many

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homages to early theater and my overall atmosphere of traditional theatre. Additionally the compact storage nature of the backgrounds coincidentally provides a convenient and
easy to use depth creator as well as a lack of loose items that may be shifted in the journey.

Props would be minimal besides personal tokens which more classify as costuming and the casket.

Upon researching the difference between the two I have discovered that a casket is more applicable for my situation.

With a glass top the casket would be simplistic and plain on the outside darkly stained wood with no decorative carving. Ideally lined with black velvet however this may
cause trouble with light reflection so any dark fabric would do, my intention with these dark colours is to make the inhabitant(Hamlet) look more ghostly and pale by
comparing the darker tones bringing out the white in his skin.

Taking inspiration from Hans Holbein's 1520–22 painting “The Body of the Dead Christ in the Tomb” pictured below.

The Body of the Dead Christ in the Tomb (and detail, lower) 30.5 cm × 200 cm. Öffentliche Kunstsammlung, Basel

Raw in its authentic depiction of death I similarly want the audience, when taking their seats, as they pass the casket
to authentically believing in that moment before they look inside that it could feasibly house a corpse, No cheap wooden
Plywood or cardboard imitation can create one of the select few moments of realism I am after.

● Explanation of costume design

By stripping back the background I have created A unique moment where each character's costume can be seen as a spectacle,as extravagant. popping with colour on a grey
black shadowy and minimal background it must be striking and bold and meaningful!
Every eye has been deprived of anything else to linger on, this, it demands attention.

For my colour palette I have taken from the world's original performance, nature.
Captivated in the Christchurch botanical gardens by the intermingling of the colours a-play in the flora and fauna I was immediately struck
with a sense of Beauty and a desire to include them in my work immediately, at that very moment sketching up a costumeing concept.

Ophelia
To convey a sense of sorrow that's deeply set into her Character I have given her these long draping sleeves is the character walk still grab
behind her and a foreboding illusion to being dragged under the waters of the river, these building layers also provide little imagination
required to envision the lines “Her clothes spread wide,
And mermaid-like a while they bore her up,”

My colour pallet while this image is not fully coloured ( Merely pops of colour scattered around to give a general impression of what the oval
costume would look like) Has taken inspiration from Victorian flower language adding a deeper layer to the costumes meaning I wanted to
surpass the Colour Theory of dark and light and their representation and code Within the costumes who the character is.

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In order to remain true to my floral inspiration I've used a website called “palettegenerator.com”, describing itself as a website to “Find design inspiration with natural image
palettes extracted using k-means algorithm.
This palette generator will create a color palette based on the predominant colors in your image.

I submitted a photo of each flower I wish to use in accordance with their meaning and got their six dominant colours. I tried to use largely naturally saturated photos with
minimal background as to not influence the flowers authentic colours.For ophelia's character I've chosen these four to represent her:

● Butterfly weeds- ‘Leave me’.

● Anemone - ‘Forsaken’
● Aloe-’ Grief’
● Hyacinth-’Sadness’

Additionally In the way of personal props I want her to be holding a bouquet of flowers swapping them out for slowly more withered bouquets throughout the performance in a
representation of rejected love. The colour pallet generated for Ophelia from these four plants.

Below i've listed my selection for each characters quintessential flora:

Hamlet, Prince of Denmark

● Orange lilies -symbolize hatred, pride, and disdain

● The petunia -symbolizes resentment and anger
● Bird's-Foot Trefoil: Revenge

Claudius, King of Denmark

● Aconite (Monkshood) -means ‘hatred’ and ‘be cautious’

● Rhododendron -danger
Gertrude, Queen of Denmark

● Buttercups-Childishness, condescension to hamlet

● Cyclamen - separation
● Red dahlia - betrayal
● Yellow Roses: Infidelity

The Ghost

The lily is the flower most commonly associated with funeral services as they symbolize the innocence that has been restored to the soul of the departed with its white flower , it
isn't as applicable as the ghost is vengeful so a different colour of flower may be more appropriate.However chrysanthemum symbolism has to do with death and is reserved
only for funerals.I don't want to over complicate the ghost's colour palette. I think it would cheapen the overall aesthetics of the character.

Polonius

● Red rose is the flower of father hood however white rose is applicable if your father passes
● Rhododendron- warnings
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Horatio

● Gerbera- loyalty

Laertes

● Birdsfoot Trefoil – my revenge

● white chrysanthemums are a symbol of death, grief, and mourning.

Rosencrantz and Guildenstern

● yellow lilies- can mean falsehood or gaiety

● Red dahlia -betrayal
● The yellow rose is perhaps the best known flower of friendship

Two Clowns (the Gravediggers)

The lilies- funeral flower

Presenting theatre: The director’s intentions and intended impact

● Explanation of technical design

Lighting (stage)

At its core the purpose of stage lighting is to illuminate and assist the audience in viewing the actors, beyond that lighting can highlight and help push narratives and suspend
the disbelief of the audience.Before I can begin to outline my lighting requirements I first need to identify all the settings that require illumination.Split into three categories the
majority of Hamlet consists either, Indoors at night, Indoors in the day,or outdoors at night. Thanks to the imposing nature of the castle walls it is sometimes difficult to
differentiate between day and night when inside therefore the colour and lighting of the scene is pivotal to audience understanding.After a review of the script and potential
music that I will incorporate,I've taken note/Highlighted anything that would apply to lighting. For example:

● Emotional change

● What is the time of day

● Places I may want to implement special lighting effects

● Additionally taking notes regarding the two moments i will do an in depth staging of.

Utilising my time learning as a member of the Court Theater Youth Tech crew I have a background knowledge of different methods of lighting, I had a particular interest in the

use of gobos in pattern creation. Below I have included some examples of Grass and outdoor textured gobo slides. As my background is simplistic and two dimensional these

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inclusions in the lighting will help create a depth to my set

(Grass Textured - Gobo Texture, n.d.)

(Blog - KPW Productions, n.d.)

Above you can see the gobos in application to both a flat and slanted space. I want to note the overall concise and finished look the gobos application has resulted in in contrast
to how it would look in flat basic stage lighting. These are essential for outdoor scenes and can be artfully projected onto smooth surfaces Textures such as sponge can greatly
enhance and dramatise scenes with minimal lighting alterations from basic stage lighting to create a heavier and more pensive viewing experience.This example lighting Would
be a perfect blueprint for Hamlet's soliloquy lighting, The blues and shapes not overpowering the two figures while still conveying a sense of meaning in the moment.

Lighting inspiration moodboard.

(LIGHTING DESIGN, n.d.)

(LIGHTING DESIGN, n.d.)

(Specialist Lighting Effects Archives - [OPTI] Kinetics, n.d.)

I sketched up a few initial lighting plans:

(from top left to right bottom left to bottom right)

1. Model frame mockup

2. Floor lighting plan with backlighting flood light inclusion( represented by square) and
footlights (represented by circles)

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 3. Initial overhead view of lighting rig
4. Spotlight mapping, line of placement for the correct angle of spotlight in relation to the actors.

As you can see in my mockup (top left) the frame extends up from four core beams however this may be altered depending on the overall weight of the lights more
realistically more reinforcements should be made to the beams especially regarding the junting left fixture for ophelia's death
scene the outstretched box should be at the very least reinforced with supporting beams junting from the existing rig to
provide less empty space and pressure on the single point of fixture.

Normally I would be less concerned with the fixture points as they are stationary however factoring in the movement of the
ship, for my peace of mind and the actors safety I'm choosing to implement additional reinforcement.

Something you don't see a lot in modern theater is the inclusion of footlights.

Footlights in theatre sit at stage or floor level at the front of a stage and are used to provide a part of the general
illumination and to soften the heavy shadows produced by overhead lighting. As I plan to have a number of strong lights
included in this production I believe they will add an overall cleaner ambiance to the piece.

Red and blue arrows on the diagram represent the footlights gel colour.

Gel being a transparent colour of translucent plastic that can be placed over a light to colour the lights. Red lights flashing
from below a character will create a stunning visual effect. In moments of death such as Act 5 scene 2 in the sword
fighting sequence flashes of red under the character faces will not only symbolize the bloodshed but by cutting the
overhead lights will illuminate the face in a sinister light (Example right) As you can see it is exceptionally foreboding and
alienates the human features, distorting them slightly.

The blue footlight illumination will be utilized in Ophelia's death scene on the Queens features.The cooler colours and low
lights will draw her into the background allowing her to deliver her recount of Ophelia's death without taking away from the
spectacle of Ophelia jumping overboard. (Under Lighting Faces (Page 5) - Line.17QQ.com, n.d.)

Floodlights

In this diagram it is very important to note the double layering of backstage floodlights. In order to create the shadow box effect in the
background these floodlights are crucial in illuminating the shapes required. Between the slides of the backdrop and the floodlights there
needs to be a gap between them. Not so much so that any lighting or colour is sacrificed but wide enough to fit an actor. Polonius's death will
be from behind this sheet; his silhouette will be illuminated by the first row of white floodlights as he hides. As Hamlet mimes stabbing Polonius
through the sheet the second row will activate and half of the first row (every second floodlight) should be cut out completely, leaving the red
gelled back row to illuminate the backdrop. The actor of Polonius should have enough room to convincingly fall without any danger of any
equipment being damaged.

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Lighting Plan

Using a ruler for crisper lines and industry standardised symbols to represent my light selections, I
finalised a legible lighting plan for my overhead lighting. On the next page I have included a summary of
each lighting fixture I am using and why they are located where they are.

Harness specifications A huge part of the technical for this production is based around one moment in
the play, Ophelia's death scene.From the audience's viewpoint Ophelia will seemingly unsupported
clamber up a faux tree branch that extends off the ship, as she does so the Queen is speaking of her
death. Reaching for an unseen flower Ophelia seemingly topples off the boat and into the sea as an
audible splash is heard. In reality as seen in the diagram below Ophelia will be securely harnessed and
fall onto rigging below as audio plays to create the illusion of falling overboard.The stage will fade to
black momentarily allowing for crewmembers to hoist her back on deck and backstage.

Most modern productions, Such as Peter Pan or Wicked,

utilise a technique known as Wire-flying. The suspension of the
actor is achieved with high tension wires attached to a
concealed harness underneath the costume. As Ophelia does
not in fact need to fly, simply fall, the wire would not require an
overhead tether rather attaching to the underside of the tree
branch. For all intents and purposes the wire and tether
harness are more in place for safety rather than suspension.
The fall should not be largely high and the balcony netting below will catch the actor without issue. When the
lights cut the actor can be hoisted back on deck by a winch attached to the

The intended impact I want my entire play to have on the audience My piece's purpose at its core is to reflect
on theater,life, and our place in the world. Hamlet's Existentialism permeated the ages and therefore I found it
to be the core message that Shakespeare has intended for us to take away from the production. as an individual with a personal interest in philosophy I
am always looking for opportunities to make people think harder, humans often have a hard time visualising broad existential concepts in regards their
own lives and I think through theatre I can show them a practical application of these essentialist ideas and maybe help Bridge that mental Gap. at the
end of the day it is a play about people it is a strict away version of what humans are their jealousy there mistakes and their Madness I want people to
watch my production and not listen really see themselves in the characters would recognise the patterns in their own life and the person's of the
characters are continually falling into in this production.

Explanation of how this links to the playwright’s intentions When Penning this production Shakespeare had no way of knowing the impact that it would
eventually have all he knew was his intended impact to the audience he was giving it to. I think as a man who lived most of his life pursuing his career
and building his Legacy The death of his family members was a wake up call to him and forced him to reflect on essentially what truly mattered. My
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Productions aim is to create a similar sense of reflection in the audience before it is too late. Shakespeare how to experience these revelations in the
wake of the death of his son, his father and his mother. He wasn't given this revelation and therefore Spent his time with his family he was unfortunately
only able to understand this concept in the review of tragedy, The patterns the loss and the existentialism that I am in viewing in this play will help those
who attend to come to these revelations with time to repair them as shakespeare intended his play to. Hamlet is a warning of what occurs in the wake
and mourning of lost time.

● Explanation of how the performance and production elements would work together create this intended impact on the audience

Every element of my production is a specifically layered element to create a sense of timelessness. The staging of my production on a boat's intention is to remove the
production in the mind of the audience away from any real world tethers. With no link to their everyday life in an all encompassing set that surrounds them they are suspended
in a uniquely reflective space where all that exists in the minds eye is the production, for the first time truly being able to lose themself in the play.

My show will be so successful because the production elements force the audience to be in a receptive mindset allowing a pure viewing of the production, the performance fills
that with its dialogue, moments of real terror and moments of melodrama pull the audience routinely in and out but a the core they are permitted to truly and unboundedly
experience shakespeare's grief,reflection, and wisdom all while being thoroughly entertained.

HOW I WOULD STAGE MOMENT #1

I have drawn a aerial view of the moment #1 staging

Set and audience placement

By locating the audience lower than the treebrance their eye level will be obscured by the tree fixture giving the
illusion of ophelia being wholly suspended on the tree branch.

Delivery
Ophelia having no lines in this scene means that audio of this segmentation is largely filled with the melancholic
string music accompanying and river sounds, and Queen Gertrude's description of Ophelia's death.
Queen Gertrude's delivery should be rounded and emotive but not overly upset.

Performers notes
Ophelia:
Script ques highlighted in pink.
First segment is the que to appear on stage left in sync with the spotlight. Prop dead flower bouquet required,
begin to mime flower picking.

Continue on unaware of the audience and Gertrude's speech until the last word of the second highlighted line as the faux branch snaps and the music cuts scream as she
falls. Most importantly the actor doesn't look poised for the fall; it needs to be an organic seeming moment.

Gertrude:
It is important to note that Gertrude is not the focus of this scene, she is a narrator hench she will be off to the side of the set, dimly lit, and without any spotlight.

Step onstage when the music begins.

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 Script ques highlighted in blue.First highlight look to the audience directly, tell them this story, speak emotionally but still as a monologue, at the second highlight gesture
towards the branch ( rushing water sound will commence on this que).
Music
Sound effects:
● Bird Calls
● Rushing water
● Snapping branch
● Large splash

Depending on the actor's scream, a scream may need to be pre recorded.

Music backing track

Intention:
Music should be: cold, full, thin, piercing, harsh, breathy, sibilant, clear, bright, reedy, brassy

Selection:
Mozart - Requiem D minor

Written by Mozart for his own funeral,this musical arrangement is drenched in the essence of misery, perfectly applicable to the scene of a tragic and sudden death.
Chosen for its sufficient build and how it creates a highly tense emotion in the audience.

With slow tempo and a thick instrumental texture, The piano's timbre evokes a deeply effective sense of mourning in the listener.

Music will play before the scene begins as the lights go up and Gertrude steps on stage the music will begin to soften slightly to allow the audience to hear her, slowly growing
in volume alongside the rushing water sound effect until Gertrude is struggling to be heard over the sound reaching a climax just before cutting out (ideally in a unsatisfying
place in the music) as the branch snaps.It is important to not cut the music in a natural break, If it cuts off suddenly as she falls it will disrupt the audience and subvert their
expectations of the scene progression and deprive them of the comfort in the natural rhythm of music.

Lighting

Utilizing water gobos and multi colored gels to grab the audience's attention as the lights
go up the whole stage will be bathed in this blue/green/yellow light creating a more
realistic water effect than block blue illumination.

Cutting the backlights for gertrudes entrance creates an endless effect to the stage further
propelling the concept that gertrude is in an abstract space rather than a set location. Blue
and white footlights will illuminate the features of the queen so no annunciation or emotion
will be lost.
I have deliberately not given her a spotlight as she is not the protagonist of the story she is
telling and the audience's attention should be drawn when Ophelia makes her entrance
stage left.

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A mix of nature and water gobos will create a visually confusing dreamscape water feel halfway between the above and underwater. The spotlights should all be strikingly lit
and the following spot at full capacity highlighting the actor beautifully. I want the side stage to be almost painfully illuminated. The reason being to provide a striking visual
contrast when all lights are cut along with the music in a complete and sudden sensory deprivation. Ophelia is light and she is gone. The message should be apparent to the
audience.

HOW I WOULD STAGE MOMENT #2

To the left I have drawn a aerial view of the moment #2 staging
Set and audience placement
Having Hamlet pass through the audience breaks the fourth wall of the performance and connect the audience to the
scene more.
Scene Performance summary:
Characters who remained alive during the final scene will exit the stage leaving a moment of silence with only the dead
bodys on stage.
They will then reassemble on stage as a tableau vivant of the first scene as hamlet shambles through the crowd to the
coffin behind, swapping places with a second actor dressed as hamlet in the first scene, symbolically restarting hamlets
purgatory as the lights go down and the play ends.

Performers notes
Hamlet:
Script ques highlighted in pink.
First segment is the que to revive and step forward the stage in sync with the spotlight. No props required.

Continue forward through the isles unaware of the audience staring forward as if transfixed as the to be or not to be soliloquy plays slowly over loudspeaker until the last
word of the work is spoken as hamlet 1 exchanges his position with the hamlet in the casket dressed in hamlets opening costume. Most importantly the actor doesn't look
like he is expecting the confrontation with him; it needs to be an organic seeming moment. As he clambers into the coffin he is effectively succumbing to death this needs to
be shown on the actors face. Spotlights will follow the hamlet from stage to casket.

When the second hamlet steps through the ails he will look to the audience directly creating a bond with this irritation of hamlet.
The silence is notable and must not be broken deliberate steps are necessary for minimal sound created by the actors.

Dim basic stage lighting will slowly come up as the new hamlet re enters the stage and the other actors surround him.

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