A Quote by Meghan O'Rourke
'Hamlet' is a play about a man whose grief is deemed unseemly.
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I saw Derek Jacobi play Hamlet when I was 17, and he directed me as Hamlet when I was 27, and I directed him as Claudius in 'Hamlet' when I was 35, and I'm hoping we meet again in some other production of Hamlet before we both toddle off.
I'd not really ever expected to play anything like 'Hamlet.' I hadn't seen myself as a natural Hamlet, whatever a natural Hamlet is, and I quickly realised there is no such thing.
'Hamlet' is the best description of grief I've read because it dramatizes grief rather than merely describing it.
Much of Hamlet is about the precise kind of slippage the mourner experiences: the difference between being and seeming, the uncertainty about how the inner translates into the outer, the sense that one is expected to perform grief palatably. (If you don’t seem sad, people worry; but if you are grief-stricken, people flinch away from your pain.)
When you are at the right age to play Hamlet you are still to young and immature to play it. It is much later, when you get the life experience and the emotional power, that you understand Hamlet or Macbeth.
I think Hamlet is a very funny play - Hamlet is riddled with wit.
Hamlet is a remarkably easy role. Physically it's hard because it tends to be about three hours long and you're talking the whole time. But it's a simple role and it adapts itself very well, because the thing about Hamlet is, we all are Hamlet.
Hamlet 's character is the prevalence of the abstracting and generalizing habit over the practical. He does not want courage, skill, will, or opportunity; but every incident sets him thinking; and it is curious, and at the same time strictly natural, that Hamlet, who all the play seems reason itself, should he impelled, at last, by mere accident to effect his object. I have a smack of Hamlet myself, if I may say so.
People are either attracted to the unseemly or disapproving of it, or both; yet we try to sound superior to the unseemly by pretending to be amused by it or indifferent to it.
The instructor has to teach history, cosmogony, psychology, ethics, the laws of nations. How can he do it without saying anything favorable or unfavorable about the beliefs of evangelical Christians, Catholics, Socinians, Deists, pantheists, materialists, or fetish worshipers, who all claim equal rights under American institutions? His teaching will indeed be "the play of Hamlet, with the part of Hamlet omitted."
Unfamiliarity lends weight to misfortune, and there was never a man whose grief was not heightened by surprise.
The tragedy of "Hamlet" is critically considered to be the masterpiece of dramatic poetry; and the tragedy of "Hamlet" is also, according to the testimony of every sort of manager, the play of all others which can invariably be depended on to fill a theater.
I have felt some twinges recently, about parts I wanted to play that I may be getting too old and fat to do. 'Hamlet,' for example - maybe that's gone. I would love to play Richard II.
Whose lenient sorrows find relief, whose joys are chastened by their grief.
You'd never play Hamlet if you started worrying about who's played it before you.
I not only loved studying theater, I loved being a theater major. It gave me an excuse to brood, to grow a beard, to wear black 'at' people. I didn't just want to play Hamlet, I wanted to be Hamlet.
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