当前位置: X-MOL 学术Theatre Journal › 论文详情
Our official English website, www.x-mol.net, welcomes your feedback! (Note: you will need to create a separate account there.)
Hamlet's Hereditary Queen: Performing Shakespeare's Silent Female Power by Kerrie Roberts, and: Performing Restoration Shakespeare ed. by Amanda Eubanks Winkler (review)
Theatre Journal ( IF 0.8 ) Pub Date : 2025-01-28 , DOI: 10.1353/tj.2024.a950319
Hugh K. Long

In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Hamlet's Hereditary Queen: Performing Shakespeare's Silent Female Power by Kerrie Roberts, and: Performing Restoration Shakespeare ed. by Amanda Eubanks Winkler
  • Hugh K. Long
HAMLET'S HEREDITARY QUEEN: PERFORMING SHAKESPEARE'S SILENT FEMALE POWER. By Kerrie Roberts. Routledge Advances in Theatre & Performance Studies Series. Oxon, UK: Routledge, 2023; pp. 210. PERFORMING RESTORATION SHAKESPEARE. Edited by Amanda Eubanks Winkler, Claude Fretz, and Richard Schoch. Cambridge: Cambridge University Press, 2023; pp. 220.

Recently, Shakespearean scholarship has embraced performance-based research approaches, which have invigorated academic inquiry into the physical, spatial, and collaborative elements of live theatrical events. This understanding of Shakespeare's works not as purely literary texts, but instead as pretexts toward performance, has afforded scholar-practitioners greater opportunities to contribute to scholarly writing. Two recent contributions to this field, Hamlet's Hereditary Queen by Kerrie Roberts and Performing Restoration Shakespeare, edited by Amanda Eubanks Winkler, Claude Fretz, and Richard Schoch, each provide compelling templates for engaging with Shakespeare's work as a living, breathing performance tradition rather than as static dramatic literature. Through their respective lenses, these books invite a reconsideration of how we study, stage, and experience Shakespeare, pushing the boundaries of what performance-based, or practice-based, research can achieve.

In Hamlet's Hereditary Queen, Kerrie Roberts presents a refreshing scholarly approach, combining feminist theory and her subjective acting experience to explore one of Shakespeare's often overlooked female characters, Queen Gertrude from The Tragedy of Hamlet. In her chapter "Not Representing Gertrude," Roberts notes, "While Hamlet himself has been played white, black, straight, gay, male, and female, in my experience, most productions of the play still barely nod to Gertrude's existence, let alone address her as heroine of her own narrative" (17). Roberts shares with readers how her curiosity about Hamlet's Gertrude began after she was cast to play the role in several scenes for film students in Canberra, Australia, in 2007. She admitted to having a difficult time embracing the character, primarily because of assumptions made by directors, and conversely herself: that Gertrude was merely a minor character defined only by her new marriage to her former brother-in-law, Claudius, or in her relationship to her son, Hamlet. This latter relationship is often depicted as either a sexualized one or one marked by an understanding that her son is an insane murderer. Roberts expresses how [End Page 588] these assumptions prevent Gertrude from having her own agency, which should include "more complex motivations and objectives than those of a token mother" (2).

Roberts's thorough exploration of Gertrude began in earnest after her discovery of one key fact regarding the historical figure of Gerutha, who was the mother of Amleth (Hamlet), the prince of Denmark on whom Shakespeare's eponymous character is based. As documented by Saxo Grammaticus, the twelfth-century Danish historian, in his Gesta Danorum (Deeds of the Danes), Gerutha was also the daughter of Rørik, the King of Denmark who married her to a Viking named Horwendil, after he slayed the King of Norway (93). This revelation triggered a recognition in Roberts that Gerutha/Gertrude was in fact the hereditary Queen of Denmark, as she was the lineage of the royal blood line whose marriage to Horwendil (King Hamlet) secured for him the throne. This acknowledgment that Gerutha/Gertrude was the hereditary Queen of Denmark assisted Roberts in her own performance of the character, allowing her to "tap into" a deeper understanding of the Queen, whom she had previously found difficulty accessing. Roberts notes the importance of Gertrude's heritage stating, "Gerutha is thus not only royal, but divine, closely descended, at least in literary terms, from the Norse gods" (94).

This concept of the blood royal Queen was especially influential in Roberts's feminist critique of Hamlet, which culminated in her 2011 adaptation titled Gertrude's Hamlet, which she directed at the Tuggeranong Arts Centre in Canberra (4). Traditionally, in both production and scholarship, Gertrude is overlooked as merely a maternal archetype, frequently reduced to an adulterous figure or Freudian object of Hamlet's Oedipus complex. In this interpretation, Gertrude is defined through the lens of the male gaze, rather than as an individual with...



中文翻译:


哈姆雷特的世袭女王:表演莎士比亚的沉默女性力量 凯丽·罗伯茨 (Kerrie Roberts) 和:表演恢复莎士比亚 阿曼达·尤班克斯·温克勒 (Amanda Eubanks Winkler) 编辑(评论)



以下是内容的简短摘录,而不是摘要:

 校订者:


  • 哈姆雷特的世袭女王:表演莎士比亚的沉默女性力量 凯里·罗伯茨 (Kerrie Roberts) 和:表演恢复莎士比亚 阿曼达·尤班克斯·温克勒 (Amanda Eubanks Winkler) 编辑
  •  休·朗

哈姆雷特的世袭女王:表演莎士比亚的无声女性力量。作者:Kerrie Roberts。Routledge戏剧与表演研究进展系列。英国奥克森:劳特利奇,2023 年;第 210 页。表演 RESTORATION SHAKESPEARE。由 Amanda Eubanks Winkler、Claude Fretz 和 Richard Schoch 编辑。剑桥:剑桥大学出版社,2023 年;第 220 页。


最近,莎士比亚学术界采用了基于表演的研究方法,这激发了对现场戏剧活动的物理、空间和协作元素的学术探究。这种对莎士比亚作品的理解不是纯粹的文学文本,而是作为表演的借口,为学者实践者提供了更多为学术写作做出贡献的机会。最近对这一领域的两篇贡献,Kerrie Roberts 的《哈姆雷特的世袭女王》和由 Amanda Eubanks Winkler、Claude Fretz 和 Richard Schoch 编辑的《表演恢复莎士比亚》都提供了引人注目的模板,可以将莎士比亚的作品作为一种鲜活的、会呼吸的表演传统,而不是静态的戏剧文学。通过各自的视角,这些书邀请我们重新思考我们如何研究、舞台和体验莎士比亚,突破了基于表演或基于实践的研究所能达到的界限。


在《哈姆雷特的世袭女王》中,凯莉·罗伯茨 (Kerrie Roberts) 提出了一种令人耳目一新的学术方法,将女权主义理论和她的主观表演经验相结合,探索莎士比亚经常被忽视的女性角色之一,《哈姆雷特悲剧》中的格特鲁德女王。在她的章节“不代表格特鲁德”中,罗伯茨指出,“虽然哈姆雷特本人被扮演过白人、黑人、异性恋、同性恋、男性和女性,但根据我的经验,该剧的大多数作品仍然几乎没有向格特鲁德的存在致敬,更不用说将她称为自己叙事的女主角了”(17)。罗伯茨与读者分享了她对哈姆雷特的格特鲁德的好奇是如何开始的,此前她于 2007 年在澳大利亚堪培拉为电影专业的学生选角出演了几个场景。她承认很难接受这个角色,主要是因为导演们的假设,反过来说,她自己也只是一个小角色,只是从她与前姐夫克劳狄斯的新婚姻或她与儿子哈姆雷特的关系中来定义的。后一种关系通常被描述为一种性化的关系,或者一种以理解她的儿子是一个疯狂的杀人犯为标志的关系。罗伯茨表达了 [完第 588 页] 这些假设如何阻止格特鲁德拥有自己的能动性,这应该包括“比象征性母亲更复杂的动机和目标”(2)。


罗伯茨对格特鲁德的深入探索始于她发现一个关于格鲁塔历史人物的关键事实,格鲁塔是丹麦王子阿姆雷特(哈姆雷特)的母亲,莎士比亚的同名人物就是以她为原型的。正如 12 世纪丹麦历史学家 Saxo Grammaticus 在他的 Gesta Danorum(《丹麦人的事迹》)中记载的那样,Gerutha 也是丹麦国王 Rørik 的女儿,Rørik 在杀死挪威国王后将她嫁给了一位名叫 Horwendil 的维京人(93)。这一发现引发了罗伯茨的认识,即 Gerutha/Gertrude 实际上是丹麦的世袭女王,因为她是皇室血统的血统,她与 Horwendil(哈姆雷特国王)的婚姻为他确保了王位。承认 Gerutha/Gertrude 是丹麦世袭女王,这有助于罗伯茨自己扮演这个角色,使她能够“挖掘”对女王的更深入理解,而她以前发现很难接近女王。罗伯茨指出了格特鲁德遗产的重要性,他说:“因此,格鲁塔不仅是皇室的,而且是神圣的,至少在文学上是北欧诸神的近代”(94)。


这种血统皇后的观念在罗伯茨对《哈姆雷特》的女权主义批评中特别有影响力,这在她 2011 年的改编作品《格特鲁德的哈姆雷特》中达到顶峰,她在堪培拉的 Tuggeranong 艺术中心执导了该剧 (4)。传统上,在作品和学术研究中,格特鲁德仅仅作为一个母系原型而被忽视,经常被简化为哈姆雷特俄狄浦斯情结中的通物或弗洛伊德式的对象。在这种解释中,格特鲁德是通过男性凝视的镜头来定义的,而不是作为一个具有......

更新日期:2025-01-29
down
wechat
bug