Minds at work: writing, acting, watching, reading Hamlet

Abstract

The chapter explores writers’ and actors’ techniques for creating a sense of a conscious character in the minds of readers and spectators. This includes Shakespeare’s exploitation of the potential of the actor’s ‘part’ for the expression of conflicting points of view. It demonstrates that Shakespeare’s vivid simulation of Hamlet’s mind at work arises not just from what the character himself does and says but from an immanent Hamlet-ness in the writing even before he appears onstage. The sense of Hamlet the character cannot exist without Hamlet the play.

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