Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM

Authors

  • Monika Sosnowska University of Łódź

DOI:

https://doi.org/10.18778/2083-8530.17.08

Keywords:

Hamlet, cabaret performance, parody, digital Shakespeare

Abstract

Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?

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Author Biography

Monika Sosnowska, University of Łódź

Monika Sosnowska completed her PhD on the representations of the senses in Hamlet and selected film adaptations at the University of Łódź, Poland. At present she is teaching at the British and Commonwealth Studies Department (University of Łódź). Her publications include journal articles, chapters in books, co-edited books, and two monographs. Her most recent book is From Shakespeare to Sh(Web)speare (University of Łódź, 2016). Her research interests are Shakespeare and popular culture, green Shakespeare, ecology and ecocriticism, adaptation and performance.

References

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Published

2018-06-30

How to Cite

Sosnowska, M. (2018). Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM. Multicultural Shakespeare: Translation, Appropriation and Performance, 17(32), 81–93. https://doi.org/10.18778/2083-8530.17.08

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