Enne kui reedest ja laupäevast ja pühapäevast räägin

Mõtlesin, et lisan siia vahepeal küsimused, mis eelmisel nädalal tundides teemaks olid "Hamlet" kohta.
Kolmas on eriti "tore" ;D

1. Consider the performance dynamics of the Elizabethan public stage: large open amphitheatres, where money was often collected by players moving amongst the audiences, who were arranged for maximum capacity. Can you identify and discuss moments in Hamlet which seem particularly responsive to these relationships and challenges?
2. Consider the private indoor playhouses where companies of boy actors began work, and which adult players entered around 1609: enclosed, existing buildings housing candlelit performances, with seated audiences, and demanding admission prices up to six times as high as the public auditoria. Can you identify and discuss moments in Hamlet which seem particularly responsive to these relationships?
3. Two other important factors in plays and theatre of the period were: (a) the energies of the earlier form of theatre, the Medieval Morality Play, which depicted and satirized the vicious energies of those seeking to “get on in life” in distinctly worldly terms; and (b) the prohibition and burning of popular verse satires, ordered by the Archbishop of Canterbury and the Bishop of London on 1^st June 1599. The impulses behind these forms resurfaced in drama associated with the private theatres, in which the audience was invited to view the characters of a play through the eyes of a protagonist who is part detective, self-styled prosecutor and judge (thereby developing some of the mischievous or demonic energies of the medieval Vice character). Can you identify and discuss these energies in Hamlet?