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Hamlet’s Rep, Reconsidered
by Allan Appel | Mar 14, 2013 11:00 am
Posted to: Arts & Culture, Theater, Westville
Something is rotten in the state of Denmark, but everything’s wonderful in the village of Westville.
That’s how former Hopkins English teacher Susan Feinberg greeted the 40 or so Westvillians who came to the Mitchell Branch Library Wednesday afternoon to hear a stemwinder of a lecture on whether Hamlet’s famous alleged hesitation to take revenge was really his problem—or a flaw in our understanding.
Feinberg, who taught English for nearly three decades at the Hopkins School, delivered a gripping defense of Hamlet’s much discussed tragic flaw. She claimed that his many evasions and ploys were far from debilitating hesitation. Rather, she characterized them as planful steps in a struggle to justify in veiled but powerful Christian terms the revenge he ultimately takes on Claudius resulting in the body-strewn stage carnage that finally ends the play.
Her talk gripped the audience of largely older folks, many of whom attended specifically because they have tickets for the upcoming Yale Rep’s production of Hamlet starring local acting prince Paul Giamatti. (It’s already sold out.)
Feinberg’s presentation Wednesday doubled as a recruitment event for HomeHaven, the growing self-help group that provides the supports for seniors to stay in their homes. Begun as East Rock Village, the group recently changed its name and is now expanding with branches citywide. Westville’s is one of the fastest growing. Feinberg is a board member of HomeHaven.
At Mitchell on Wednesday afternoon, she seemed back in her old classroom negotiating her audience of white and grey-haired students through the Prince of Denmark’s struggle with the “guilt culture” of Christianity; and his preoccupation with not suicide, but the afterlife [” ... to die, to sleep, but in that sleep of death what dreams may come when we shuffle off this mortal coil”]; versus the secular Elizabethan machismo culture of duels and revenge killings.
“I never slept well during the time I was teaching Hamlet because I couldn’t turn the play off,” she said.
In Feinberg’s view several other characters, including Fortinbras and Laertes, show impetuous, sword-wielding revenge. They act as foils for Hamlet, showing him the deficiencies of simply striking out.
He needs to justify his impulse, expose Claudius, and make things a little better in Denmark: That’s the heart of Feinberg’s Hamlet and what separates it from the simple bloody revenge genre that filled Elizabethan stages.
“It’s not Hamlet’s problem. It’s our problem if we can’t see in the play that Hamlet is acting on pretexts higher than a ghost told him,” she said.
Feinberg told the audience to watch for a few key scenes in the Yale Rep production to get Giamatti’s take on the matter, including Hamlet’s first ploy. “Will Paul Giamatti [merely] feign madness, or move it over into true insanity?” she asked.
Suzanne Eisner, another veteran English teacher in the audience, said she had some disagreements with the idea of Hamlet as a Christian gentleman. He didn’t appear to have too many qualms about running Polonius through, Eisner observed.
Feinberg said she’s also curious to see how the upcoming Yale Rep production treats Claudius’s minister and Laertes pontificating dad Polonius. She seems him as a guy who, well, deserves to get run through, even by the young Christian prince.
“I see him as not as a buffoon but a despicable, dangerous, nasty, meddling old man,” she said.
After she concluded her presentation, Feinberg was greeted by rousing applause that came just shy of a standing ovation.
“If Hamlet ever needed a defense attorney,” Eisner said, “he has one in you.”
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posted by: William Kurtz on March 14, 2013 12:36pm
Sounds great. I wish I could have made it to this talk. Thank you for the write-up.
Years ago, Professor Mike Shea, (now chair) of the SCSU English department taught a graduate class called ‘Bringing Hamlet Alive’ in which he encouraged students to explore the ambiguities and interpretive possibilities in the text and examine how they were resolved both by the individual act of reading the play and by various directors and actors on stage and film. That was more than 20 years ago and it’s still probably the best, most influential time I ever spent in a classroom. A quick look at his course listing
suggests that the class might still be offered in some form.
Since then, I’ve seen the play performed dozens of times and every production has revealed some new nuance or possibility.
On another note, I didn’t realize Hamlet was going to be the theatrical event of the season. I’m glad I got my tickets early for once.
Single tickets are still available online and at box office but you have to be prepared to be flexible as to attendance date and time. yalerep.org
I just bought mine 20 minutes ago for a 2pm show on Wed 27th.
Thanks for this preview of Hamlet, and to Susan Feinberg for her presentation.
Shakespeare’s plays—including Hamlet—have been the subject of several Yale-New Haven Teachers Institute seminars and even more specific curriculum units that teachers have developed as Institute Fellows.
For example, Paul Fry—who is William Lampson Professor of English at Yale—has led national seminars on the following:
“Approaches to Teaching Shakespeare”
“Shakespeare and Human Character”
In a 2010 New Haven seminar on “The Art of Reading People: Character, Expression, and Interpretation” led by English professor Jill Campbell, Marialuisa Sapienza of Co-op H.S. prepared a curriculum unit on Macbeth:
In a 2009 local seminar on “Writing, Knowing, Seeing” led by English professor Janice Carlisle, Melissa Dailey McCormack of Sound School developed a unit on Macbeth and Hamlet:
Also in that seminar, Leszek Ward of New Haven Academy prepared a unit on The Tempest:
These curricular resources are available for non-commercial, educational purposes.
Just saw the Play last night, Polonius played the fool. I see him more as the dangerous person. Yale Rep saw him as a straight up dope. When he is killed I almost felt bad for him. I would compare him to a mobster who treats his family well but has no qualms of hurting people outside his family.