Stoppard’s Adaptations of Shakespeare: Dogg’s Hamlet, Cahoot’s Macbeth

Gianakaris, C. J.

doi:10.1353/cdr.1984.0025

Cited by 4 publications

(3 citation statements)

References 3 publications

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“…C.J. Gianakaris (1984) makalesinde Stoppard'ın uyumsuz tiyatro yazarları arasında parodi türünü eserlerinde başarıyla kullanan bir yazar olarak tanımlar (s.222). Gianakaris (1984) parodi türünün kullanıldığı oyunlara Stoppard'ın Cahoot's Macbeth, Doog's Hamlet oyununu da örnek gösterir (s.228).…”

Section: Parodi Komedi Unsurları Ve Varoluşçu Sorgulamalarunclassified

“…Gianakaris (1984) makalesinde Stoppard'ın uyumsuz tiyatro yazarları arasında parodi türünü eserlerinde başarıyla kullanan bir yazar olarak tanımlar (s.222). Gianakaris (1984) parodi türünün kullanıldığı oyunlara Stoppard'ın Cahoot's Macbeth, Doog's Hamlet oyununu da örnek gösterir (s.228). Mizah ve gülmece unsurlarını oyunlarına dahil ederken Stoppard yukarıda listelenen oyunlarında görülebileceği gibi Shakespeare'in trajedilerinden yola çıkar.…”

Section: Parodi Komedi Unsurları Ve Varoluşçu Sorgulamalarunclassified

“…C. J. Gianakaris (1984) makalesinde Stoppard'ın oyununun "metafizik koşullar içindeki modern insanın durumunu yansıtan uyumsuz tiyatro sonrası paradigmalar içerdiğini" anlatır (s.222). Gülmeyi ve güldürmeyi amaç olarak kullanan parodi türü Stoppard tarafından insanlığın varoluşçu ve zihinsel krizlerini ele alan bir tür olarak kullanılır.…”

Section: Parodi Komedi Unsurları Ve Varoluşçu Sorgulamalarunclassified

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Tom Stoppard'ın Rosencrantz ve Guildenstern Öldüler Adlı Eserinde Zaman, Hafıza ve Kimlik Sorunsalı

Kurtuluş¹

2021

Gaziantep University Journal of Social Sciences

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Tom Stoppard's Rosencrantz and Guildenstern are Dead, exposes the theme of uncertainty, doubt, and improbabilities as its source material, Shakespeare's Hamlet. As an example of the theatre of absurd, it depicts uncertain interactions between the characters, suspense, and the unbearable meaninglessness in their lives. As the audience we accompany Rosencrantz and Guildenstern on their journey through uncertain events that render them without a concrete sense of identity. The depictions of the characters show that Rosencrantz and Guildenstern question their fates and identity amidst the improbabilities they face. In this cesspool of uncertainty that is their lives, predetermined future and the approaching death shape their identity. The play's opening word is "heads," repeated several times that refers to the improbable case of betting on the toss of a coin. Each time Rosencrantz announces that it is heads and Guildenstern is worried about the money he is going to lose at the betting game and, also the implications of the term, heads. The process is repeated each time which symbolizes their vanity and helplessness. Nothingness creates an endless cycle of life. When there is uncertainty, lack of unity, clarity, rationality, and hope characters' actions become meaningless. They suffer from emptiness and passionately seek the meaning of an unclear and hopeless life. Unfortunately, they realize that their actions and endeavours are all in vain. Their inquiry about the matter of existence consists of impossibilities as they cannot remember their past accurately. This paper intends to discuss Rosencrantz and Guildenstern's loss of identity due to their weak memory and not being able to recall the past, all of which come to an end with the death of the characters, an event that ironically marks the realization of their identities.

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Section: Parodi Komedi Unsurları Ve Varoluşçu Sorgulamalarunclassified

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Tom Stoppard'ın Rosencrantz ve Guildenstern Öldüler Adlı Eserinde Zaman, Hafıza ve Kimlik Sorunsalı

Kurtuluş¹

2021

Gaziantep University Journal of Social Sciences

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Reality Czech: Tom Stoppard Discovers Shakespeare behind the Iron Curtain

Cantor¹

2016

Rev Pol

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Tom Stoppard's Dogg's Hamlet, Cahoot's Macbeth offers fresh evidence of the universality of Shakespeare's genius. The play juxtaposes a perfunctory performance of Hamlet in an English boarding school with a courageous staging of Macbeth as a protest against Communist tyranny in 1978 Czechoslovakia. The play shows that, paradoxically, Shakespeare's plays have less of an impact in England than they do in foreign countries, where differing political circumstances, far from forming an obstacle to appreciating Shakespeare, actually bring his plays to life with a new power. By portraying the secret police interrupting the Czech Macbeth, Stoppard explores how artists can struggle against totalitarianism, and, in particular, how they can develop secret codes to express their dissidence, even under the watchful eyes of the surveillance state. Encountering Shakespeare behind the Iron Curtain, Stoppard developed a new seriousness as a playwright and a new interest in the relation of art and politics.

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‘It Is Written’: Tom Stoppard and the Drama of the Intertext

Meyer¹

1989

Comparative Drama

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Stoppard’s Adaptations of Shakespeare: Dogg’s Hamlet, Cahoot’s Macbeth

Cited by 4 publications

References 3 publications

Tom Stoppard'ın Rosencrantz ve Guildenstern Öldüler Adlı Eserinde Zaman, Hafıza ve Kimlik Sorunsalı

Tom Stoppard'ın Rosencrantz ve Guildenstern Öldüler Adlı Eserinde Zaman, Hafıza ve Kimlik Sorunsalı

Reality Czech: Tom Stoppard Discovers Shakespeare behind the Iron Curtain

‘It Is Written’: Tom Stoppard and the Drama of the Intertext

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