An Existentialist Revision of Shakespeare’s Skepticism in Hamlet, the Walking Man
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This study delves into the theatre aesthetics and textual revision in the recent existentialist adaptation of Shakespeare’s Hamlet, titled Hamlet, the Walking Man (2023), directed by Jin-hwan Ra. Ra’s adaptation seeks to reimagine existentialist philosophy within the framework of Shakespeare’s representative post-Reformation skeptic Hamlet, aligning with his ongoing exploration of classic literature that probes into human nature and theological themes. Focusing on Ra’s interest in “a theatrical art language that can engage with contemporary cultural sensibilities”, this study explores how he employs innovative imagery and movement while employing elements of ‘the Theatre of the Absurd.’ Ra’s production introduces Giacometti’s Walking Man motif within an absurdist framework, shedding new light on Hamlet’s skepticism. This significant image serves as a central theme throughout the adaptation, aligning with the director’s philosophy that prioritizes the “image of sensory metaphor.” Particularly, Ra incorporates dried trees on the stage, evoking Giacometti’s stage design for Beckett’s Waiting for Godot. In this Beckettian stage set, Ra’s Hamlet is depicted as an incarnation of the Walking Man, contemplating existential questions. Ra replaces the Reformation context of Shakespeare’s original tragedy with Kierkegaardian ideas, rewriting the iconic “to be or not to be” soliloquy into reflections on how to live. The Shakespearean focus on the afterlife gives way to contemplation on existence, anxiety, hesitation, reason, and madness, inviting the audience to walk alongside Hamlet, who persists in his unresolved, existential wandering.
Abstract
This study delves into the theatre aesthetics and textual revision in the recent existentialist adaptation of Shakespeare’s Hamlet, titled Hamlet, the Walking Man (2023), directed by Jin-hwan Ra. Ra’s adaptation seeks to reimagine existentialist philosophy within the framework of Shakespeare’s representative post-Reformation skeptic Hamlet, aligning with his ongoing exploration of classic literature that probes into human nature and theological themes. Focusing on Ra’s interest in “a theatrical art language that can engage with contemporary cultural sensibilities”, this study explores how he employs innovative imagery and movement while employing elements of ‘the Theatre of the Absurd.’ Ra’s production introduces Giacometti’s Walking Man motif within an absurdist framework, shedding new light on Hamlet’s skepticism. This significant image serves as a central theme throughout the adaptation, aligning with the director’s philosophy that prioritizes the “image of sensory metaphor.” Particularly, Ra incorporates dried trees on the stage, evoking Giacometti’s stage design for Beckett’s Waiting for Godot. In this Beckettian stage set, Ra’s Hamlet is depicted as an incarnation of the Walking Man, contemplating existential questions. Ra replaces the Reformation context of Shakespeare’s original tragedy with Kierkegaardian ideas, rewriting the iconic “to be or not to be” soliloquy into reflections on how to live. The Shakespearean focus on the afterlife gives way to contemplation on existence, anxiety, hesitation, reason, and madness, inviting the audience to walk alongside Hamlet, who persists in his unresolved, existential wandering.
참고문헌 (22)
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