How can a play like Hamlet live for such a long time and still be innovative? In David Tennant’s interpretation of the conspiring Hamlet we find an individual who has decided to act upon what he knows, in this case, trying to expose how his uncle is responsible for his father’s death. This modern, technological portrayal of
Hamlet shows the protagonist’s wish to be alone through the pulling of the camera installed in the room he will conspire in. The original lines of this scene fit in perfectly with the actions as Hamlet states: “Now I am alone” (Act II, Scene ii) David Tennant opts for exaggerated facial expressions that expose Hamlet’s feelings and thoughts. It is necessary to understand how these expressions fit in with the play, specially with a modern version. It is interesting how the props contrast with the language of the play, at times it seems as if they can’t both subsist, but David Tennant’s acting makes this possible as our attention is directed to him, instead of the scenery and words.
David Tennant tries his best at giving Shakespeare’s words a meaning in this modern context. Long pauses, exaggerated actions and direct camera contact make this possible. The actor suddenly adopts a low position and conspiring look when he states: “For murder, though it have no tongue, will speak / With most miraculous organ” (Act II, Scene ii). It is interesting how valid this interpretation is, how the tone and visual exposition of Hamlet becomes so important in making the viewer understand the development of Hamlet’s plan of tricking his uncle. The direct eye contact with Hamlet intimidates the viewer who has changed his perception of this impotent, sorrow individual for a strong, conspiring one.
Kenneth Branagh’s interpretation of Hamlet is much more solemn and classic. This is obviously due to the nature of his
Hamlet version, but can still result impressive how the actor seems convinced by his ideas and feelings and how the soliloquy becomes a sot of exposition or explanation of these conclusions. The screenshot on the left demonstrates how Branagh is exposing rather than acting Hamlet, how it is important for him to make the words relevant to the acting when Hamlet states: “O God, a beast that wants discourse of reason / Would have mourned longer!), married with my uncle, / My father’s brother” (Act I, Scene ii). The individual’s sorrow is exposed through the tone of his voice and the relevant facial expressions. Compared to David Tennant’s interpretation, we find a troubled individual, who takes his time to expose his feelings and is constantly trying to prove himself of what he is thinking. Innovative acting is necessary for both plays, as Hamlet becomes immersed in his troubles, and Shakespeare transcends with his plays.
How can a play like Hamlet live for such a long time and still be innovative? In David Tennant’s interpretation of the conspiring Hamlet we find an individual who has decided to act upon what he knows, in this case, trying to expose how his uncle is responsible for his father’s death. This modern, technological portrayal of Hamlet shows the protagonist’s wish to be alone through the pulling of the camera installed in the room he will conspire in. The original lines of this scene fit in perfectly with the actions as Hamlet states: “Now I am alone” (Act II, Scene ii) David Tennant opts for exaggerated facial expressions that expose Hamlet’s feelings and thoughts. It is necessary to understand how these expressions fit in with the play, specially with a modern version. It is interesting how the props contrast with the language of the play, at times it seems as if they can’t both subsist, but David Tennant’s acting makes this possible as our attention is directed to him, instead of the scenery and words.
David Tennant tries his best at giving Shakespeare’s words a meaning in this modern context. Long pauses, exaggerated actions and direct camera contact make this possible. The actor suddenly adopts a low position and conspiring look when he states: “For murder, though it have no tongue, will speak / With most miraculous organ” (Act II, Scene ii). It is interesting how valid this interpretation is, how the tone and visual exposition of Hamlet becomes so important in making the viewer understand the development of Hamlet’s plan of tricking his uncle. The direct eye contact with Hamlet intimidates the viewer who has changed his perception of this impotent, sorrow individual for a strong, conspiring one.
Kenneth Branagh’s interpretation of Hamlet is much more solemn and classic. This is obviously due to the nature of his Hamlet version, but can still result impressive how the actor seems convinced by his ideas and feelings and how the soliloquy becomes a sot of exposition or explanation of these conclusions. The screenshot on the left demonstrates how Branagh is exposing rather than acting Hamlet, how it is important for him to make the words relevant to the acting when Hamlet states: “O God, a beast that wants discourse of reason / Would have mourned longer!), married with my uncle, / My father’s brother” (Act I, Scene ii). The individual’s sorrow is exposed through the tone of his voice and the relevant facial expressions. Compared to David Tennant’s interpretation, we find a troubled individual, who takes his time to expose his feelings and is constantly trying to prove himself of what he is thinking. Innovative acting is necessary for both plays, as Hamlet becomes immersed in his troubles, and Shakespeare transcends with his plays.
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