Podcasts about Fortinbras

With all the death in Shakespeare's works, you may not be shocked that the word “Funeral” comes up in Shakespeare's plays over 20 times, but what is surprising is that funeral ceremonies are used by Shakespeare in multiple plays to serve a specific role, almost a character in and of themselves for how they impact the plot. Most notably, and my apologies here for any spoilers, the play is still worth seeing, but there's an elaborate funeral for Hamlet ordered by Fortinbras at the end of the play. This funeral is said to mirror the real funeral of English poet, Sir Philip Sydney that had happened in 1587.If we're going to appreciate Shakespeare's portrayal of Hamlet's funeral, then it becomes important to understand how funerals worked for Shakespeare's lifetime, what the steps and rights were involved in an official, or unofficial, service and what constituted a fitting tribute to the dead. Here today to take us through what funerals involved for the 16-17th century, why Sir Philip Sydney's service was so remarkable, and what all of this history means we should notice when we see funerals used for dramatic impact in Shakespeare's plays, is our guest, and author of “Death, Religion, and the Family in England 1480-1760", Ralph Houlbrooke.  Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Em cada dia, Luís Caetano propõe um poema na voz de quem o escreveu.

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act 4, Scene 4, Hamlet encounters Fortinbras' army! Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with a clip from that film, starring Ray Fearon; the 2009 Hamlet, starring David Tennant; and the 1980 Hamlet, starring Derek Jacobi. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Jeffery Kissoon and Kenneth Branagh; Hamlet 1980 by Rodney Bennett, starring Derek Jacobi; Hamlet 2000 by Michael Almereyda, starring Ethan Hawke; Hamlet 2009 by Gregory Doran, starring David Tennant; Slings & Arrows, starring Luke Kirby; and In a Bleak Midwinter by Kenneth Branagh, starring Michael Maloney. Leave a comment, I love to read!

33. Hamlet in Howth - Fortinbras and Hamlet - Two contrasting mindsets. Act 4. Sc 4. Lines 9 - 65

Hamlet regressa ao teatro do Odéon pela mão da encenadora brasileira Christiane Jatahy. A encenadora habituou-nos a olhar para as fronteiras do passado e do presente, as fronteiras do cinema e da cena como elementos de transformação. "A primeira coisa que podemos fazer para escapar à possibilidade de repetir [acontecimentos] é olhar para o passado e não o apagar", defende Christiane Jatahy que propõe uma revolução sem violência através de uma "Hamlet com uma energia feminina". RFI: Christiane Jatahy estamos no Teatro Odéon, em Paris, onde tem em cena "Hamlet", o seu novo espectáculo. São nesta altura, 19h50, de dia 7 de Março, dentro de instantes, os actores sobem ao palco. Ainda sente um nervosismo antes de apresentar a sua criação ao público?Christiane Jatahy: Sim, sempre, claro. Conforme a gente vai fazendo mais vezes, vamos entendendo melhor a reacção do público e o público também vai entendendo melhor a peça e aí esse nervosismo diminui. Mas sim, é um nervosismo que eu acho saudável. Acho que para os actores [esse nervosismo acontece] todos os dias, para mim é principalmente na estreia.Hamlet reúne reflexões políticas, filosóficas, históricas, literárias, aborda temas que podem parecer desarticulados, desordenados. O que traz uma coerência na sua encenação é o movimento, e mais do que a vontade de mudança, a própria mudança. Adapta a quase a integralidade do texto de Shakespeare, muda o destino dos personagens e, logo no início da peça, através de um holograma, confronta os fantasmas de Shakespeare, personagens que já tem mais de 400 anos, aos personagens que cria, personagens de 2024.Sim, realmente Hamlet é um oceano, mas ao mesmo tempo a gente precisa de a conter e dar contorno. Para mim, era muito importante pensar essa peça a partir da perspectiva da mudança, como você disse, mas evidentemente, com a ideia de que esses personagens estão aqui hoje e, portanto, essa história está sendo revivida, mesmo que eles não tenham consciência dessa repetição. A acção, que é uma das questões do Hamlet, que é sobre ir ou não, agir ou não agir, ela se transforma em alguma coisa que já está impregnada de movimento, porque ela está impregnada de passado. Hamlet está lembrando e vivendo ao mesmo tempo e se confrontando com seus actos e se confrontando com seus actos de maneira diferente. Porque Hamlet agora tem uma energia feminina. Continua sendo uma coisa que é um pouco repetitiva nos meus trabalhos, que é sobre a questão da mudança, sobre a questão da transformação. Mas neste momento ligada à ideia de que já estamos num processo de mudança, ou seja, a mudança já está acontecendo. Por isso essa ideia da revolução, da transformação, mas ainda se perguntando sobre como é que a gente quebra as estruturas que estão introjectadas em nós mesmos para que a gente possa transformar para um outro futuro.Quando o apresenta e quando criou este espectáculo, sente que há dois Hamlet em cima do palco ao Hamlet shakespeariano e o seu Hamlet?Eu acho que tem muitos Hamlet; tem um Hamlet shakespeariano que não é mais só de Shakespeare.. é de todas as pessoas que já fizeram Hamlet, tanto nas suas encenações.E são tantas...Nossa, são 400 anos de história e tantas pessoas que já actuaram no papel do Hamlet. É o meu Hamlet como ideia, mas se transforma no Hamlet das pessoas que estão em cena, se transforma no Hamtel da Clotilde, quando ela está agindo e actuando, se transforma no Hamlet das pessoas que estão vendo e estão projectando seus Hamlet nesse Hamlet. Acho que essa ideia de que um personagem é alguma coisa é uma ideia que eu acho que ela é reducionista porque um personagem ele pode ser muitas coisas e ser outras coisas não tira, na verdade, a potência dele vir a ser de novo em outras montagens aquilo que a gente espera que ele seja.Fala muito do verbo ser. Esta talvez será uma nova fronteira que cria. A Christiane habituou nos às fronteiras do tempo e do espaço, aos meios que usa para comunicar entre a cena e o público, para comunicar entre os actores. Em Hamlet, cria novas fronteiras, a fronteira do interior dos personagens, a fronteira da memória, dos fantasmas e das acções. E esta fronteira entre o ser e não ser, também é ela própria uma fronteira?Sim, sim, realmente as fronteiras, elas são limites que me interessam transpassar. Eu penso sobre elas. Além de todas essas fronteiras que você disse, se aprofundando numa delas, a fronteira da fantasmagoria, porque ela é a fronteira do sonho. Ela é a fronteira, na verdade, do que a gente projecta do nosso inconsciente. Interessava-me uma discussão psicanalítica também sobre a obra, seguindo assim...Anúncio de que a peça vai começar daqui a dez minutosTem uma coisa que é a fronteira que está sempre presente no meu trabalho, que é a fronteira do passado com o presente e a fronteira também do cinema e da cena, pensando essa relação agora como uma presentificação de quem não pode estar ali, porque são os fantasmas do passado. Nas fronteiras de que fala, em cena as personagens ocupam o espaço de um apartamento composto por um quarto, uma sala, uma cozinha e uma casa de banho. A estrutura das janelas e das portas assumem a função de fronteira entre o presente e a memória, onde circulam o consciente e inconsciente dos personagens. Junta se aí, como estava a dizer, a realidade que o público pode escolher  ver e os fantasmas que pode escolher ocultar ?Quando pensei nessa ideia do apartamento e que depois foi desenvolvida na cenografia por mim e pelo Thomas Walgrave. A minha questão sobre o apartamento era [perceber] como é que essas pessoas, esses fantasmas porque são todos personagens que morreram de alguma forma na história da ficção, eles estão revivendo suas memórias, mas eles já morreram. Pensei nesse apartamento como um lugar onde eles convivem. É um apartamento todo envidraçado e, de alguma maneira, quando a gente quebra, como se a quarta parede que precisasse ser quebrada, a quarta parede já foi quebrada há muito tempo, mas quando a gente fisicamente derruba a quarta parede e integra o espaço do público, para mim era a ideia de construir, esse ovo, esse espaço único em que tudo interage e em nenhuma cena tem como se esconder. Eles são obrigados a conviver.Se na peça Claudius pode ter uma conversa com Guildenstern e Rosencrantz escondido em algum lugar, nessa peça tudo é visto assim. Por outro lado, é claro que nesse tudo é visto, também tem essas misturas dos tempos. Então, algumas vezes nem tudo o que é visto faz parte do mesmo tempo. Algumas coisas estão no tempo e outras estão em outro tempo. Isso também ressignifica essa ideia da relação em cena.Para concluir, que eu acho que é que é importante assim, de falar sobre o que você disse, que também quando eu abro o espaço para as laterais, eu também estou dando outros pontos de vista para o público. Além do ponto de vista da câmara e além do ponto de vista da cena, também o espectador pode decidir que ele vai olhar, incluindo o que não é a cena principal ou que ele vai escolher o foco só da cena principal. Então também tem uma questão que me interessa, que é que cada lugar do teatro te possibilita uma apreensão diferente da obra.Possibilita também uma interpretação sobre e para a mudança?Sim, claro. Porque através da direcção do nosso olhar é que a gente transforma.É isso que nos propõe?Também. Na peça trágica de Shakespeare, Hamlet procura a própria identidade através da vingança do pai. Por isso simula a própria loucura. Destaca-se o carácter trágico da violência vingativa e da relação com a luta pelo poder. A Christiane questiona mais profundamente essa identidade e cria um Hamlet no feminino. Esta peça, vista e interpretada no feminino, vai mudar o percurso e o decurso desta história.Sim, essa Hamlet ela tem ainda o seu ímpeto de vingança. Ela revive a história e ao reviver a história e revê obcecadamente a imagem do Pai que lhe impulsiona a agir, ela traz dentro dela esse impulso. Ela traz, assim como o personagem original do Shakespeare. Ela traz neste impulso a dúvida sobre ir ou não para a acção e a não compreensão, principalmente por que é que ela não consegue realizar o acto. O importante para mim é que ao se defrontar com essa violência novamente, porque é uma peça cuja violência é realizada pelos homens, ao se defrontar ela mesma com a violência que ela carrega e com a violência que ela encontra, ela não reage da mesma maneira que o Hamlet da peça original. Anúncio de que o espectáculo vai começar dentro de cinco minutos...Portanto, a não reprodução da violência?Sim, ela  não quer reproduzir a violência. E quando ela se vê sendo jogada nessa mesma violência, como por exemplo, quando ela mata Polonius, isso para ela não é alguma coisa que ela aceita nela mesma porque as estruturas que ela está lutando, de alguma maneira, que nós, como mulheres, estamos lutando hoje em dia. Acho que é muito importante falar sobre isso porque somente a transformação de um personagem, historicamente masculino, na ideia de como é que seria esse personagem se não se ele fosse uma mulher, mas se ele tivesse sido um homem e num determinado momento. Dou sempre o exemplo de Orlando da Virginia Woolf, que ele se visse como uma mulher, se essa mulher pensa sobre as questões das estruturas do patriarcado e não só fora de nós. Eu acho que isso é super importante falar nessa peça porque essa estrutura ela domina todas as estruturas do mundo. Mas também como é que essas estruturas estão introjectadas em nós mesmos e como é que essas estruturas estão introjectadas nesse personagem do Hamlet. Existe também uma questão de auto-consciência de processo de percepção, como por exemplo, como é que ela vai agir como mulher quando ela se confronta com uma situação que é super misógina na peça, que é a maneira como Hamlet trata Ofélia. Assim, ela não consegue tratar da mesma maneira.A escolha que Hamlet vai fazer também vai ter repercussões no destino de Ofélia, que por uma vez, não tem um destino trágico.Super. Acho que tem uma questão sobre o sistema e eu acho que a gente está falando sobre questões sistémicas e também familiares, porque é sobre uma família. Quando a gente quebra, quando alguma peça muda o seu comportamento nesse sistema, algum elemento, isso também é física, os outros elementos também se transformam e se libertam dos seus, dos seus padrões. A libertação da Ofélia, de alguma maneira, é decorrência de uma transformação que também está no Hamlet.Ouvimos duas vezes a citação "O mundo antigo está a morrer, mas o novo tarda em nascer", do filósofo italiano António Gramsci. Ele falava sobre a crise, sobre o desenlace, sobre a importância de reagir a esta frase, tantas vezes usada, sobretudo na política. As personagens partilham este espaço íntimo do apartamento do nosso tempo, com dispositivos tecnológicos com um texto de 400 anos. A estrutura mudou e o conteúdo pouco mudou. Como é que se pode escapar à repetição do passado? É apenas uma escolha?A primeira coisa para se escapar da possibilidade de repetir e reconhecer é olhar para o passado, não apagar o passado. O apagamento do passado é que provoca essa ideia de que alguma coisa pode se cumprir de maneira diferente, mesmo que a gente faça as mesmas coisas. É por isso que eu acho que nesse trabalho, em muitos dos meus trabalhos, quando eu estou fazendo uma relação do passado com o presente e trabalhando essas fronteiras do tempo, eu também estou falando sobre a ideia de como que ao eu reconhecer um passado que aconteceu, como é que ao me defrontar com uma situação similar, de que maneira que esse meu passado....Agora a peça vai começarComo é que eu me comporto de uma maneira diferente porque eu tenho a trajectória de reconhecimento do ponto em que isso me levou para que eu não precise repetir. Eu acho que essa é uma discussão também sobre a humanidade.Fala de humanidade e projecta imagens de guerra que vivemos hoje, actualmente e que também fazem parte dessa mudança de reconhecer o que aconteceu no passado para poder não reproduzir. Estamos a reproduzir erros do passado?A guerra é muito importante também nessa peça, apesar de que ela está sempre na volta da peça. Tudo começa por causa de uma guerra, por perder uma guerra. É uma discussão também sobre esse sistema da violência, da crueldade, da ideia de vingança, essas vinganças que se perpectuam. A guerra é o começo da peça. A guerra é o motivo, na verdade, da chegada de Fortinbras e toda essa ameaça que começa a existir. Ela está presente o tempo todo nesse entorno.Não existe guerras longe de guerras perto, as guerras são guerras e elas estão realmente sempre perto. A nossa inacção diante das guerras e a gente vive muito isso hoje; como agir diante dessa repetição novamente, dessa violência das guerras? Também está presente de alguma maneira na peça, nas reflexões que o próprio Hamlet já faz, mas que a gente traz agora de uma maneira que é mais direccionada a se perguntar que sentido que isso tem?  Porque na peça ele se pergunta como é que Fortinbras está lutando e ele não está conseguindo lutar. Fortinbras e está lutando pelo que seu pai perdeu e ele não consegue. Aqui é o oposto, como é possível que tantas pessoas precisem morrer por uma luta que é na verdade, uma luta de uma pessoa, de uma ideia, de um desejo, na verdade, na verdade intelectual e de vingança ou de ganância.Hamlet diz que é preciso ser cruel para ser justo e acaba por reconhecer no fim da peça que não é, afinal, necessário ser cruel para ser justo.Sim, é super importante essa frase. Ela se repete de muitas maneiras, como perguntas, como afirmações, como acusações e até que finalmente tem uma tomada de consciência que é a gente realmente precisa ser cruel para ser justo?E o silêncio no meio disso tudo?O silêncio está ali. É o final da peça, o resto é silêncio. No resto, escutar esse silêncio também. 

Studying Hamlet for your Leaving Cert? Studyclix has you covered! Listen to expert teacher Peter Tobin, as he takes a deep dive into the play, providing useful analysis and theories that you can use in your Shakespeare essays.  In this episode, Peter will be talking us through some of the minor characters in the play. Peter will be discussing the characters of Rosencrantz and Guildenstern, Fortinbras, the ghost, and Horatio, analysing their impact beyond what you may have initially thought on the first read of Hamlet. This is the kind of critical literacy that will help you score higher marks in your exam!  For more excellent (and free) Leaving Cert English content to help you excel in your exams, we highly recommend checking out Peter's Youtube channel: https://www.youtube.com/channel/UC92KBWQhZ6bpEZe9x62Et3Q As always, we love to hear from you. If you have any questions, comments or feedback, please get in touch by email at info@studyclix.ie. Alternatively, you can contact us via the chatbox on Studyclix.ie. You can also reach us through any of our social media channels. ——— Follow Studyclix on social media for updates, study tips, competitions, memes and more! Facebook, Twitter, and Instagram: @studyclix TikTok: @studyclix.ie Snapchat: study_clix

Welcome to the Instant Trivia podcast episode 986, where we ask the best trivia on the Internet. Round 1. Category: Frock Around The Clock 1: If you want to wear a this length dress in the U.K., wear it around 4 P.M., when the steeped beverage is commonly served. tea. 2: This hyphenated style of dress containing 2 altitude extremes is perfect for noon or midnight. a high-low. 3: When it precedes "gown", this 4-letter undergarment is worn for bedtime; before "dress", not for bedtime. slip. 4: For 5 o'clock, maybe try this simple dress that has the same name as the key under "caps lock". a shift. 5: For the cocktail hour, perhaps this dress, that sounds like a good place to stash a dagger. a sheath. Round 2. Category: I Quit! 1: When he left NASA to be a Univ. of Cincinnati prof., he took one giant leap into retirement from the public eye. Neil Armstrong. 2: His sudden retirement from the NBA on Nov. 7, 1991 shocked the sports world. Earvin "Magic" Johnson. 3: In 1974, frustrated with GM's management, he quit and with British funding, built a stainless steel luxury sports car. John DeLorean. 4: On Nov. 25, 1980 Roberto Duran said, "No mas" and quit in the eighth round against this fighter. Sugar Ray Leonard. 5: In March 1987 Bettino Craxi quit after a 3 1/2-year term in this post, a post-WWII record. prime minister of Italy. Round 3. Category: In A Minute 1: Each minute 5 million of these are sent; how many of them are spam, we don't know. E-mails. 2: Men's Health magazine says the average guy can do 33 of these in a minute in his 20s, 21 in his 40s. push-ups. 3: In a June 2000 film Nicolas Cage played a guy who could do this in a minute. Steal a car. 4: Each minute it pumps about 5 quarts of blood. The heart. 5: Under the slogan "Real Estate for the Real World", this company claims on average to buy or sell a home every minute. Century 21. Round 4. Category: Last Line Of A Shakespeare Act 1: Act II of this play ends, "My Regan counsels well; come out o' the storm". King Lear. 2: Act I of this play concludes with, "The motion's good indeed and be it so, Petruchio, I shall be your Ben Venuto". The Taming of the Shrew. 3: Fortinbras ends act V and this play with "Go, bid the soldiers shoot". Hamlet. 4: Stephano tells him, "O brave monster! Lead the way". Caliban. 5: This title character declares, "He shall have every day a several greeting, or I'll unpeople Egypt". Cleopatra. Round 5. Category: Sitcom Characters 1: This mailman on "Cheers" gleaned some of his knowledge from reading the magazines he delivered. Cliff (Clavin). 2: "The Days and Nights of" this divorcee moved from NBC to the Lifetime Network in 1989. Molly Dodd. 3: This character was a "lovely lady who was bringing up three very lovely girls". Carol Brady. 4: He plays assistant football coach Luther Van Dam on "Coach". Jerry Van Dyke. 5: Name of the writer played by Rose Marie on "The Dick Van Dyke Show". Sally Rogers. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

SynopsisToday's date in 1946 marks an important moment in Parisian theatrical history with the debut performance of a legendary acting company created by husband-and-wife actors Jean-Louis Barrault and Madeleine Renaud. Their opening production was Shakespeare's Hamlet in a French translation by André Gide, with incidental music by Swiss composer Arthur Honegger. To play Honegger's score, Barrault hired two young musicians at the start of their careers. The first, 21, was to play the eerie electronic sounds Honegger scored for the Ondes Martinon, evoking the elder Hamlet's ghost. That young musician was a composition student named Pierre Boulez, who would remain associated with Barrault's company for a decade before becoming a famous conductor and composer of avant-garde scores of his own like Le Marteau Sans Maître.The second musician Barrault hired was a 22-year old percussionist, who brought Hamlet to a dramatic close with timpani crescendos evoking Fortinbras' final line in the play, “Go, bid the soldiers shoot.” That young musician, Maurice Jarre, would also become a famous composer, taking quite a different career path than Boulez. Jarre devoted himself to film scoring, composing several famous ones, such as Dr. Zhivago for British film director David Lean.Music Played in Today's ProgramPierre Boulez (1925 - 2016) – Le Marteau Sans Maître (Orchestre Du Domaine Musical; Pierre Boulez, cond.) PCA 101 Maurice Jarre (1924 - 2009) – Lara's Theme, from Dr. Zhivago (Royal Philharmonic Orchestra; Maurice Jarre, cond.) Sony 42307

The panel discusses the two scenes of the final act of Hamlet, with attention to the text's focus on death, the mirroring of Hamlet with Fortinbras and Laertes, Horatio's constant companionship, Ophelia's burial, and the ultimate defeat of Claudius.Continue reading

I've been listening to Clarence Carter for years, and I was always hoping to be able to use “Strokin'” in a movie. “Strokin'” is one of the great American songs. To me, he was the Mozart of Southern music. You can almost never hear “Strokin'” on the radio, not in this politically correct world. So I thought I should give this to the audience — it has nothing to do with the picture. There's a disc jockey in all of us, and I just wanted to share “Strokin'” with all of you. Why not? Where are you gonna go and hear “Strokin'” in this day and age? Where? Nowhere! Here, that's it! I mean, if I were doing a movie about the life of Beethoven, I would use “Strokin'” on the end credits. Or Shakespeare! You know, if I was doing Hamlet, imagine ending it after Hamlet's death, and the funeral oration by Horatio or Fortinbras, then you hear “Strokin'.” And that sends you right out of your chair – YES! It's not about a guy who got killed in a duel, and killed his uncle because his father's ghost told him that his uncle was sleeping with his mother and he had to kill his uncle… what a stupid plotline that is. Now if you end it with “Strokin'” you have a whole other kettle of fish. The audience goes out bopping. Strokin'. -- William Friedkin

Gertrude feels guilt over her marriage to Claudius—but was she ignorant of the murder? The key word “nothing” begins to resonate through the play. Hamlet has hidden Polonius's body. When confronted about it, his seemingly mad speeches revolve around the idea of metamorphosis—in the words of Ophelia, we know not what we may be. Ophelia's mad scene. --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-dolzani/support

Everyone is acting. Polonius instructs his servant to act a part and spy on Laertes. Hamlet pretends to be mad to Ophelia. Polonius bursts into the Court, where Claudius has averted an attack by Fortinbras, and reads a love poem from Hamlet to Ophelia—a very bad poem. Rosenkrantz and Guildenstern, courtiers, attempt to draw Hamlet out. The arrival of the Players. --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-dolzani/support

Hamlet has long been interpreted as a figure who is too paralyzed by moral self-consciousness to act in the way he feels it is his duty to act. One way of understanding the root of that paralysis is by examining the character of Fortinbras, the warrior-prince, who in his resolute pursuit of military glory, stands in evident contrast with Hamlet's own indecisiveness. The play makes us consider whether the moral bewilderment that is such a common affliction of modern man is in fact the result of his typical displacement from the battlefield, and the kind of indubitable duties to be found there.

Hamlet finishes confronting his mother. The king contrives to send Hamlet away to England and there have him murdered. Hamlet encounters Fortinbras' army and contrasts his resolve and purpose with his own lack of action.

Hamlet finishes confronting his mother. The king contrives to send Hamlet away to England and there have him murdered. Hamlet encounters Fortinbras' army and contrasts his resolve and purpose with his own lack of action.

The Hamlet Podcast - a weekly exploration of Shakespeare's Hamlet. Act V, Scene ii - Horatio and Fortinbras speak, and determine what must happen next. We have reached the end of the play, and the end of our journey together. Written and presented by Conor Hanratty

The Hamlet Podcast - a weekly exploration of Shakespeare's Hamlet. Act V, Scene ii - Hamlet dies, just as Fortinbras and the ambassadors return. Written and presented by Conor Hanratty

Denmark has been conquered by Fortinbras of Norway. The coroner reported 9 Danish deaths, four within the royal family, the other five intimately connected to the family. Fortinbras has established a totalitarian regime and sought to suppress all Danish opposition—and especially the truth behind the nine Danish deaths. (Fortinbras ridiculously claims that as part of his takeover he single-handedly defeated the nine in hand-to-hand combat using poisoned fencing equipment). In this truth-suppressed society, the only outlet for the truth is Resistance Radio, an underground radio show hosted by “The Great Dane,” a sleuthing citizen committed to the truth. In this episode The Great Dane shares with his audience the epic discovery of “The Polonius Tapes.” Polonius, a former adviser to the Danish King, had long touted a “To thine own self be true” policy in the castle of Elsinore, encouraging external processing among its inhabitants. However, Polonius secretly recorded everyone's private soliloquizing in order to spy on the speakers. The Great Dane shares highlights from these tapes, enlisting a troupe of actors to give voice to these hitherto unknown texts (most of which were originally spoken by Prince Hamlet). With the sharing of these speeches the truth begins to emerge surrounding the Tragedy of Hamlet, prince of Denmark. Finally, The Great Dane has a star witness in Hamlet's best friend, Horatio, the only known survivor with direct knowledge of the deeds (and misdeeds) of the last days of independent Denmark.

Finishing their tasks for the day, Tallie, Akim, and Koof relax in a sauna made by Akim's portal magic and a liberal application of the Token spell by Fortinbras. Brasha and Lemon have trade thoughts on the current diplomatic situation.

Faith, religion, godliness—these things have caused more pain, suffering, and death than all the plagues of history combined. In Fortinbras, a city built in the aftermath of a religious war that nearly ended all life on the planet, religion is considered a disease. The residents are taught that they are all that is left of humanity and the cold law of logic and reason rule their lives. Sabrina Sabryia, a young police cadet, is a resolute enforcer of the law until her loyalties are torn between her best friend Lindsey Mehdina, a charismatic spiritual leader, and her uncle Angelo D'Agosta, the head administrator of the city. The conflict drives Sabrina and Lindsey across a radioactive wasteland pursued by cyborg bounty hunters. They quickly learn that what they took for truth in Fortinbras was not all that it seemed. Meanwhile terrorists plot a religious uprising that threatens millions of innocent lives and Sabrina and Lindsey must choose sides. Their choice pits friendship against family, war against peace, and eventually, faith against doubt. Full audio book read by Cari Scholtens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ted-neill/support

Faith, religion, godliness—these things have caused more pain, suffering, and death than all the plagues of history combined. In Fortinbras, a city built in the aftermath of a religious war that nearly ended all life on the planet, religion is considered a disease. The residents are taught that they are all that is left of humanity and the cold law of logic and reason rule their lives. Sabrina Sabryia, a young police cadet, is a resolute enforcer of the law until her loyalties are torn between her best friend Lindsey Mehdina, a charismatic spiritual leader, and her uncle Angelo D'Agosta, the head administrator of the city. The conflict drives Sabrina and Lindsey across a radioactive wasteland pursued by cyborg bounty hunters. They quickly learn that what they took for truth in Fortinbras was not all that it seemed. Meanwhile terrorists plot a religious uprising that threatens millions of innocent lives and Sabrina and Lindsey must choose sides. Their choice pits friendship against family, war against peace, and eventually, faith against doubt. Tags: post apocalyptic, dystopia, action adventure, female protagonists, science fiction, gritty, cinematic. Full audio book read by Cari Scholtens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ted-neill/support

Faith, religion, godliness—these things have caused more pain, suffering, and death than all the plagues of history combined. In Fortinbras, a city built in the aftermath of a religious war that nearly ended all life on the planet, religion is considered a disease. The residents are taught that they are all that is left of humanity and the cold law of logic and reason rule their lives. Sabrina Sabryia, a young police cadet, is a resolute enforcer of the law until her loyalties are torn between her best friend Lindsey Mehdina, a charismatic spiritual leader, and her uncle Angelo D'Agosta, the head administrator of the city. The conflict drives Sabrina and Lindsey across a radioactive wasteland pursued by cyborg bounty hunters. They quickly learn that what they took for truth in Fortinbras was not all that it seemed. Meanwhile terrorists plot a religious uprising that threatens millions of innocent lives and Sabrina and Lindsey must choose sides. Their choice pits friendship against family, war against peace, and eventually, faith against doubt. Tags: post apocalyptic, dystopia, action adventure, female protagonists, science fiction, gritty, cinematic. Full audio book read by Cari Scholtens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ted-neill/support

Faith, religion, godliness—these things have caused more pain, suffering, and death than all the plagues of history combined. In Fortinbras, a city built in the aftermath of a religious war that nearly ended all life on the planet, religion is considered a disease. The residents are taught that they are all that is left of humanity and the cold law of logic and reason rule their lives. Sabrina Sabryia, a young police cadet, is a resolute enforcer of the law until her loyalties are torn between her best friend Lindsey Mehdina, a charismatic spiritual leader, and her uncle Angelo D'Agosta, the head administrator of the city. The conflict drives Sabrina and Lindsey across a radioactive wasteland pursued by cyborg bounty hunters. They quickly learn that what they took for truth in Fortinbras was not all that it seemed. Meanwhile terrorists plot a religious uprising that threatens millions of innocent lives and Sabrina and Lindsey must choose sides. Their choice pits friendship against family, war against peace, and eventually, faith against doubt. Tags: post apocalyptic, dystopia, action adventure, female protagonists, science fiction, gritty, cinematic. Full audio book read by Cari Scholtens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ted-neill/support

Faith, religion, godliness—these things have caused more pain, suffering, and death than all the plagues of history combined. In Fortinbras, a city built in the aftermath of a religious war that nearly ended all life on the planet, religion is considered a disease. The residents are taught that they are all that is left of humanity and the cold law of logic and reason rule their lives. Sabrina Sabryia, a young police cadet, is a resolute enforcer of the law until her loyalties are torn between her best friend Lindsey Mehdina, a charismatic spiritual leader, and her uncle Angelo D'Agosta, the head administrator of the city. The conflict drives Sabrina and Lindsey across a radioactive wasteland pursued by cyborg bounty hunters. They quickly learn that what they took for truth in Fortinbras was not all that it seemed. Meanwhile terrorists plot a religious uprising that threatens millions of innocent lives and Sabrina and Lindsey must choose sides. Their choice pits friendship against family, war against peace, and eventually, faith against doubt. Full audio book read by Cari Scholtens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ted-neill/support

Faith, religion, godliness—these things have caused more pain, suffering, and death than all the plagues of history combined. In Fortinbras, a city built in the aftermath of a religious war that nearly ended all life on the planet, religion is considered a disease. The residents are taught that they are all that is left of humanity and the cold law of logic and reason rule their lives. Sabrina Sabryia, a young police cadet, is a resolute enforcer of the law until her loyalties are torn between her best friend Lindsey Mehdina, a charismatic spiritual leader, and her uncle Angelo D'Agosta, the head administrator of the city. The conflict drives Sabrina and Lindsey across a radioactive wasteland pursued by cyborg bounty hunters. They quickly learn that what they took for truth in Fortinbras was not all that it seemed. Meanwhile terrorists plot a religious uprising that threatens millions of innocent lives and Sabrina and Lindsey must choose sides. Their choice pits friendship against family, war against peace, and eventually, faith against doubt. Tags: post apocalyptic, dystopia, action adventure, female protagonists, science fiction, gritty, cinematic. Full audio book read by Cari Scholtens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ted-neill/support

Faith, religion, godliness—these things have caused more pain, suffering, and death than all the plagues of history combined. In Fortinbras, a city built in the aftermath of a religious war that nearly ended all life on the planet, religion is considered a disease. The residents are taught that they are all that is left of humanity and the cold law of logic and reason rule their lives. Sabrina Sabryia, a young police cadet, is a resolute enforcer of the law until her loyalties are torn between her best friend Lindsey Mehdina, a charismatic spiritual leader, and her uncle Angelo D'Agosta, the head administrator of the city. The conflict drives Sabrina and Lindsey across a radioactive wasteland pursued by cyborg bounty hunters. They quickly learn that what they took for truth in Fortinbras was not all that it seemed. Meanwhile terrorists plot a religious uprising that threatens millions of innocent lives and Sabrina and Lindsey must choose sides. Their choice pits friendship against family, war against peace, and eventually, faith against doubt. Tags: post apocalyptic, dystopia, action adventure, female protagonists, science fiction, gritty, cinematic. Full audio book read by Cari Scholtens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ted-neill/support

Faith, religion, godliness—these things have caused more pain, suffering, and death than all the plagues of history combined. In Fortinbras, a city built in the aftermath of a religious war that nearly ended all life on the planet, religion is considered a disease. The residents are taught that they are all that is left of humanity and the cold law of logic and reason rule their lives. Sabrina Sabryia, a young police cadet, is a resolute enforcer of the law until her loyalties are torn between her best friend Lindsey Mehdina, a charismatic spiritual leader, and her uncle Angelo D'Agosta, the head administrator of the city. The conflict drives Sabrina and Lindsey across a radioactive wasteland pursued by cyborg bounty hunters. They quickly learn that what they took for truth in Fortinbras was not all that it seemed. Meanwhile terrorists plot a religious uprising that threatens millions of innocent lives and Sabrina and Lindsey must choose sides. Their choice pits friendship against family, war against peace, and eventually, faith against doubt. Tags: post apocalyptic, dystopia, action adventure, female protagonists, science fiction, gritty, cinematic. Full audio book read by Cari Scholtens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ted-neill/support

#30: We're back at it by backtracking to 1933! This book is a post-apocalyptic gang thinking they could be Camelot but then Shakespearean tragedy smacks them all down. AS IT SHOULD, because our good guys are DEFINITELY the baddies. Nella was waiting in the wings like Fortinbras, 15 minutes late with Starbucks ready for everyone to die-- You could have been trading, but instead you were pillaging and raping. CW: If you read the book one character is a pedophile.  Support us at https://www.patreon.com/nellachronism Follow the progress of the Apocalist here. Follow us on twitter @ApocalistC, Email us at ApocalistBookClub@gmail.com CREDITS: Art by Michael Vincent Bramley. Music by Robare Pruyn. Sound editing by Crutch Phrase Studio.

CAST in order of appearance: Julia Larsen as Hamlet, Else C. Went as Horatio, Zoë Goslin as Osric, Patrick Harvey as Claudius, Olivia Rose Barresi as Laertes, Ariana Karp as Gertrude, Finn Kilgore as Fortinbras, Tim Palmer as Ambassador. Facilitated and directed by Emma Rosa Went. Dramaturgy by Isabel Smith-Bernstein. Assistant directed by Harrison Densmore. Edited, with music composed & performed by Ariana Karp.

Discovering someone was left behind, the crew begins to put some pieces together around what happened to the terraforming team on Kizor-4.

CAST in order of appearance: Finn Kilgore as Fortinbras, Colin Holmes as Captain, Julia Larsen as Hamlet, William Cary as Rosencrantz. Facilitated and directed by Emma Rosa Went. Dramaturgy by Isabel Smith-Bernstein. Assistant directed by Harrison Densmore. Edited, with music composed & performed by Ariana Karp.

Merriam-Webster's Word of the Day for July 8, 2020 is: emulate • EM-yuh-layt • verb 1 a : to strive to equal or excel b : imitate; especially : to imitate by means of hardware or software that permits programs written for one computer to be run on another computer 2 : to equal or approach equality with Examples: Younger children will often try to emulate the behavior of their older siblings. "As part of its subsequent push to emulate the West, Meiji-era Japan encouraged the production of domestic versions of that same whiskey. Japanese distillers often used sweet potatoes, which were abundant, but they produced a much different spirit than the barley, corn and rye used in Scotland and America." — Clay Risen, The New York Times, 29 May 2020 Did you know? If imitation really is the sincerest form of flattery, then past speakers of English clearly had a great admiration for the Latin language. The verb emulate joined the ranks of Latin-derived English terms in the 16th century. It comes from aemulus, a Latin term for "rivaling" or "envious." Two related adjectives—emulate and emulous—appeared within a half-century of the verb emulate. Both mean "striving to emulate; marked by a desire to imitate or rival" or sometimes "jealous," but emulous is rare these days and the adjective emulate is obsolete. The latter did have a brief moment of glory, however, when William Shakespeare used it in Hamlet:  "Our last king,  Whose image even but now appear'd to us,  Was, as you know, by Fortinbras of Norway,  Thereto prick'd on by a most emulate pride,  Dar'd to the combat...."

The Hamlet Podcast - a weekly exploration of Shakespeare's Hamlet. Act IV, Scene iv - Hamlet and the Norwegian Captain discuss Fortinbras' campaign against Poland. Written and presented by Conor Hanratty

The Hamlet Podcast - a weekly exploration of Shakespeare's Hamlet. Act IV, Scene iv - Fortinbras enters with his army, as they pass through Denmark. Hamlet encounters one of his captains, and asks where they are going. Written and presented by Conor Hanratty

this week the guys talk about the illustrious herbert v. tolkien debate and then alex gives us a convincing fan theory about hamlet and an accompanying fanfic. hope you enjoy! don't forget to follow suck my (fan) fic on social media and youtube! https://twitter.com/suckmyfanfic https://www.facebook.com/Suck-my-fan-fic https://suckmyfanficpodcast.tumblr.com/ https://www.youtube.com/channel/UCqdIDIgKS-F1dgBcDWUBl2g you can also give them all (at least some?) of your monies if you feel so inclined https://www.patreon.com/suckmyfanfic

Our apologies to Stephen Dedalus. Previously, we referred to him as King F*ckboy, but that’s grossly unfair to both Stephen and perhaps literature’s Kingest F*ckboy of them all -- Hamlet. This week, we discuss William Shakespeare’s Tragedy of Hamlet, Prince of Denmark (1599? 1602? no one is sure, but it’s something like that) in all its beautiful, bonkers glory. We have many pressing questions. Like, why is this so long? (Four hours, at least -- Billy S needed an editor.) How should we read its notoriously fraught sexual politics? Or its bizarre moral calculus? What’s up with the whole Fortinbras plotline? And what do novel jerks need to keep in mind when pretending to be theater jerks? As we aren’t Early Modernists, we’re a little out of our depth with the scholarship here. But as leftist literary critics, we *highly* recommend anything Stephen Greenblatt, one of the OGs of New Historicism. Maybe start with Greenblatt’s magnificent and influential essay, “Invisible Bullets: Renaissance Authority and Its Subversion, Henry IV and Henry V.” Read any Hamlet you like, but if you want to be a total tool like Tristan, you can always get one of the 10-lbs. compiled Shakespeare editions. Remember, folks -- “gravitas.” *Note to our listeners. Megan is on maternity leave. We’re also going on break for the holidays soon, and next week’s episode on A Christmas Carol will be our last episode of our 2019 season. Katie and Tristan will be back with you in mid-January, and Megan returns to the pod later this winter. Follow our social media pages for updates about the new season! Find us on Twitter and Instagram @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Tristan on Twitter @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus.

In which Sherwin makes his way to Glister Hall, attempts to climb the great wall, is unshorn by a rioting crowd, and finally encounters the mysterious Hall proprietor Goodwin Sand - also known as Fortinbras, Dainty Marblehead, Pasha, and Gerald Fielder. 

MARIBOR IS THE FUTURE 009 - FILMSKI: pogovor z Aljošo Ternovškom Pogovor je potekal 17. decembra, 2016 v GT22 v okviru serije #ekstremnolokalno, v okviru katere predstavljamo filmske ustvarjalce iz Maribora in okolice. Aljoša Ternovšek se je l.1972 rodil v učiteljski družini, kjer je bil oče, Peter Ternovšek, že od nekdaj zaljubljen v gledališke deske. Skupaj s Tonetom Partljičem sta sodelovala v amaterskem gledališču v Sladkem Vrhu. Prva predstava, v kateri je Aljoša sodeloval z Matjažem Latinom kot režiserjem, je bila Zgodba Vinka Möderndorferja, takrat še v produkciji dramskega studia, ki ga je takrat vodil Vili Ravnjak. Sledila je predstava Kralj umira, ki jo je prav tako režiral Matjaž Latin, ki od tega trenutka postane sooblikovalec Aljoševe igralske karizme. Tu je bil Aljoša že na AGRFT in njegova pot je bila zapečatena, kar se tiče njegovega ustvarjanja seveda. Še na Akademiji je v MGL-u napravil fantastično vlogo (Bernard) ob Borisu Cavazzi v Smrti trgovskega potnika. TV-gledalci ga poznajo kot Dušana Vaupotiča – Duleta iz oddaje Tistega lepega popoldneva in filma Kleščar. Vloge v gledališču: Equus – MGL, režija: Tomi Janežič; Murlin Murlo – MGL, režija: Matjaž Latin; Namišljen bolnik – MGL, režija: Zlatko Bonrek; Ion – režija: Sebastijan Horvat, Grand Prix na Tednu slovenske drame; Fortinbras je pijan – MGL, režija: Zijah A. Sokolović; Življenje v teatru -Narodni dom Maribor, režija: Matjaž Latin; Kleščar – monokomedija, izbor na Festivalu monodrame na Ptuju izmed tridesetih predstav. Vloge v filmu: Tantadruj – režija: Tugo Štiglic (naslovna vloga); Peter in Petra – režija: Arko; Striptih – režija: Filip Robar DorIN; Kleščar – film v režiji Matjaža Latina (naslovna vloga). Videoportret Aljoše Ternovška: https://www.youtube.com/watch?v=NEDcx6tsLA0 Organizator: Društvo za razvoj filmske kulture, Maribor. Ob podpori: #mobilniudarnik, GT22, Fundacija Sonda in Mestna občina Maribor. www.gt22.si

In this episode, we discuss Greg Doran's film version of his RSC production of Hamlet starring David Tennant. The production is currently available to stream on PBS.org in the US. For detailed show notes, visit http://www.seventh-row.com/2016/05/06/ep-7-hamlet-david-tennant/ 00:00–1:58 Intro 1:58–7:00 Initial thoughts on the production 7:00–11:23 Claudius in Act IV & Act V and the worldbuilding in the production 11:23–21:04 Translating the play into a hybrid film of the play (the sets, the cameras within the production, breaking the fourth wall) 21:04–31:05 Incest-y things: Laertes-Opehla and Hamlet-Gertrude 31:06–36:33 The Laertes-Ophelia-Polonius family unit 36:35–42:40 Denmark is a Prison? + Rearranging Act 2 & 3 (and the “To be or not to be” speech) 42:40–49:40 Excising (almost all of) Fortinbras and cuts to Horatio’s scenes 49:40:–1:00:06 Women in the production 1:00:06–1:00:50 Outro Host: Alex Heeney (@bwestcineaste) Guests: Noemi Berkowitz (@noemiola), Caitlin Merriman (@CaitlinSnark), Mary Angela Rowe (@lapsedvictorian), Craig Ruttan (@crut) Sound recordist and editor: Cam White (@JediDusk) Follow us on Twitter @21stFolio. Find us online at http://seventh-row.com/21st-folio

In this very special bonus episode, we interview Maxine Peake about playing Hamlet in the Royal Manchester Exchange production of Hamlet (2014/2015), which was recorded on film. The film of the production will be screening across the U.S. this week (mostly on May 2). To find a theatre near you. visit: http://www.hamletmaxinepeake.com For detailed show notes, visit: http://www.seventh-row.com/2016/05/02/interview-maxine-peake-hamlet/ Follow the 21st Folio on Twitter @21stFolio. Host: Alex Heeney (@bwestcineaste) Interviewers: Caitlin Merriman (@CaitlinSnark) and Laura Anne Harris with questions contributed by Lesley Peterson. Sound recordist and editor: Cam White (@JediDusk) 00:00–3:13 Introductions 3:15–5:08 How did being a woman playing Hamlet as a man (in a production with roles that are gender-swapped) affect Peake's interpretation of Hamlet? 5:08–6:25 How did Peake decide to play Hamlet as trans? 6:25–8:11 How did the decision to gender-swap some of the characters come about? 8:12—11:05 What is the difference between tackling Hamlet when there’s so much text to play with compared with so many female characters (like Ophelia) in Shakespeare where there’s so little and so much of it is what you’re bringing to the role? 11:05–13:05 How much discussion did you have with your director about using your sexuality as a tactic in the play? 13:05–14:22 How did you feel about moving the ‘to be’ speech to Act 4? 14:22–16:56 How important do you think it is for theatre companies to open more opportunities to play famous Shakespearean characters? 16:56–17:51 Are there other male parts you’re now itching to play? 17:51–20:27 What was your experience of audience interaction and your performance? 20:27–22:40 How did doing the play in the theatre in the round at the Exchange affect things? 22:40–24:47 How did having cameras in the theatre for the filmed version change the performance or your experience of it? 24:47–26:33 There are a few line readings in your performance that are different from the traditional ones. How did these come about? 26:34–29:05 How did you develop Hamlet as a 21st century character? 29:05–31:01 How did the decision to do the lines so quickly at the beginning come apart and how did that affect you physically? 31:02–33:11 At some point, it slows down. How did you decide where and how to slow down? 33:11–35:40 Because the second half is so difficult, what was the strategy for tackling that in rehearsal? 35:40–37:35 How did you prepare for the part before rehearsals began? 37:35–40:18 How did you find the performance changed across the 7-week run? 40:18–42:18 How did you decide to cut Fortinbras? 42:18–44:57 How did you edit the Michael Grandage script you were working from? 44:58–47:21 What was the backstory between Horatio and Hamlet in your production? 47:30–48:45 Closing comments and outro

Our 28th podcast deals with the first scene in the play Hamlet, which sets a mood of uncertainty, and prefigures some central themes of the play, such as the disruption of the natural order, identity and revenge. The first two podcasts in our revision series prior to the Leaving Certificate exams gathered together individual short talks on 10 characters in Hamlet - the first one was on 1) Fortinbras, 2) Horatio, 3) Laertes, 4) Rosencrantz and Guildenstern, 5) Polonius; the second on 7) Ophelia, 8 ) The Player King, 9) Osric, 10) The First Gravedigger.

This podcast gathers together the first five short 'audioboos' from our series 10 Characters from 'Hamlet', which deal with six characters: 1) Fortinbras, 2) Horatio, 3) Laertes, 4) Rosencrantz and Guildenstern, 5) Polonius. Another podcast will put together the remaining four when complete. The series looks at the 'lesser' characters in the play, in five-minute chunks. Note that there is a brief gap between each talk.

Hamlet 4.4 – En Route to England, our escorted prince runs into Fortinbras and his army, inspiring him to perform one final soliloquy… we are promised bloody thoughts. Hurray! How's It Gonna End, by Tom Waits, courtesy of http://music.mevio.com

Shakespeare wrote Hamlet before James l came to the throne. Events in the play reflect many of the real world concerns that  Englishmen had about being ruled by a foreigner. At the play's end, Denmark's line of  rulers is extinguished, and a foreigner (Fortinbras) takes the throne. James was married to Anna of Denmark, some feared that if he were to attempt a military takeover, he might call on the forces of his brother in law Christian IV of Denmark. King Lear was written after James's succession. At the start of the play Lear is firmly established as king of a united Britain. This reflected James's wish to be ruler of a fully united kingdom. In fact he approached Parliament, without success, in 1607 in hopes of securing a closer political union. The names of the Dukes in King Lear are taken from real life. James had recently made his sons Henry and Charles the Dukes of Cornwall and Albany respectively. In the play Albany is an honest man who realises too late the evil doings of his relatives. Once aware, he works to restore natural order. At the end,  hope for the monarchy rests with him,  Albany from Scotland, who is free to reunite the fractured kingdom. In this he represents what James wanted to achieve with his succession. Listen here as Prof. Joseph Khoury, of St. Francis Xavier University in Nova Scotia, and I discuss the themes of succession and the divine right of kings in Hamlet and King Lear.

Lee Blessing (born October 4, 1949) is an American playwright. His best-known play is A Walk in the Woods, which depicts the developing relationship between two arms limitation negotiators, one Russian and one American, over years of negotiation. The play was nominated for both a Tony award and a Pulitzer Prize. His recent plays include A Body of Water, Whores, The Scottish Play, Black Sheep, Fortinbras and many others. He has also written one act plays including, The Roads That Lead Here and Eleemosynary. He currently heads the graduate playwriting program at Mason Gross School of the Arts, Rutgers University. He is married to fellow playwright Melanie Marnich.

Lee Blessing (born October 4, 1949) is an American playwright. His best-known play is A Walk in the Woods, which depicts the developing relationship between two arms limitation negotiators, one Russian and one American, over years of negotiation. The play was nominated for both a Tony award and a Pulitzer Prize. His recent plays include A Body of Water, Whores, The Scottish Play, Black Sheep, Fortinbras and many others. He has also written one act plays including, The Roads That Lead Here and Eleemosynary. He currently heads the graduate playwriting program at Mason Gross School of the Arts, Rutgers University. He is married to fellow playwright Melanie Marnich.