Hamlet: Presented by Chicago Shakespeare Theatre at the Courtyard Theatre, Chicago, Illinois
Notice bibliographique
Résumé
Hamlet Presented by Chicago Shakespeare Theatre at the Courtyard Theatre, Chicago, Illinois. September 10-November 18, 2006. Directed by Terry Hands. Set and costumes by Mark Bailey. Lighting by Terry Hands. Music by Colin Towns. Sound by James Savage. Fights by Robin H. McFarquhar. With Ben Carlson (Hamlet), Bruce Young (Claudius, Ghost of Hamlet's father), Mike Nussbaum (Polonius), Barbara Robertson (Gertrude), Lindsay Gould (Ophelia), Timothy Edward Kane (Horatio), Andrew Ahrens (Laertes), Matt Schwader (Rosencrantz), Ben Viccellio (Guildenstern), Roderick Peeples (Gravedigger), and others. Chicago Shakespeare Theatre has in recent years augmented its reliably lucid and competently produced offerings with a stunning array of world-class imported productions at its Navy Pier location. Recent examples have included Peter Brook's radical edit of Hamlet, Mark Rylance's original practices Twelfth Night, and, in the fall of 2006, an all-male Russian Twelfth Night from Cheek By Jowl director Declan Donnellan and designer Nick Ormerod. If such treasures were not enough, CST's Artistic Director Barbara Gaines also has a discerning eye and a persuasive way when it comes to wooing top-flight directorial talent; over the years, she has brought in such artists as Michael Langham, Michael Bogdanov, and most recently Terry Hands to work their magic with the Chicago casting pool. Hands, a consummate professional if ever there was one, ran the Royal Shakespeare Company for twenty-five years, and now runs a theatre in Wales. Word has it that after Gaines spotted the Canadian actor Ben Carlson (a regular at the Shaw Festival) as a potential Hamlet, Hands concurred and proceeded to assemble the rest of his cast from Chicago talent. In addition to handling the directing chores, Hands also designed the lighting. The result was a treat for those who prefer their theatre spare, elegant, and deeply considered. This is the Hamlet I wish I'd seen as a boy: a careful realization of the text that was full of ideas without imposing an overbearing directorial concept onto the play. Hands's treatment starkly contrasted with Robert Falls's corrosive and disturbing King Lear, which ran concurrently at the nearby Goodman Theatre. Falls added outlandish sex and violence to a play that already has plenty of both, and nearly eclipsed his central character in a lavish and busy modern setting. Hands, by contrast, directed a lean Hamlet of exceptional acuity and restless impatience; Carlson took a fervently intellectual and urgently energetic approach to the role. The production barreled through in under three hours, yet did so with remarkable clarity. Set and costume designer Mark Bailey played ably with an alternating pattern of black and white, with a mid-play shock of grey and red, offering visual equivalents for Hands's moral vision of the play. The opening scene quickly established Hands's powerful way with a bare three-quarter thrust and a lighting plot: Bernardo, Marcellus et. al. gazed directly downstage at a non-existent apparition, drawing powerfully upon the spectators' imaginations. This made the subsequent appearance of the ghost--armored and gargantuan--that much more striking. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,001 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,051 | 0,004 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».