" This madness likely leads to Ophelia's suicide but, consistent with the entire theme of this play, the exact nature of Ophelia's demise is left to speculation. The fascination with Hamlet is uncanny. What provides this fascination is the fact that there is always more to what is going on in the play than what actually appears to be. Observers of the play are left with an overwhelming feeling that they

The fact is, Willaimson's initial assertion that the history or legend behind Shakespeare's Hamlet does not matter; neither does the earlier tragedy upon which Shakespeare's play was based. Shakespeare had almost no original story lines; it was the way his characters reacted to the plot, what thy thought, and how they expressed themselves that made -- and make -- the plays so watchable and such towering testaments of the

Theatre: English-speaking versions of Hamlet vs. European versions The many contemporary interpretations of Shakespeare enacted on the modern stage underline the fact that Shakespeare was a playwright for the ages, not simply a man of his own time. However, in the ways in which Shakespeare has been adapted to modernity, it becomes apparent that modern directors are just as intent upon revealing their own personal preoccupations as well as revealing the

Since he himself cannot directly accuse the King, he will use the actors to do so silently. Other critics argue that the King does not see the dumb-show. Because there is no text in the play which describes what Claudius is doing at the moment that the dumb-show is being enacted, it is impossible to say one way or the other. The "second tooth" theory is the more widely accepted

1984 to Now: Fiction Becoming Reality? In the 2016 film Snowden by Oliver Stone, illegal governmental surveillance of the lives of private citizens via digital means (such as ordinary computer webcams) disturbs the film's hero, a dramatized representation of real-life whistleblower Edward Snowden. Snowden ultimately rebels against the government agency that employs him as he rejects the totalitarian principles that govern the agency. Indeed, the film touches upon a reality that

For example, the scene in which Andrea stands before the statue of Marat and sings "Credi al destino" fails to evoke for me any real sensation. Perhaps it is because, as Grout suggests, the opera is "laden with harmonies that are heavy and oldfashioned [and] has little of special interest" (p. 495). Such could explain why the scenes feel at time clunky and abysmally lacking in flair. Still, at