Przepisywanie „Hamleta”. Literatura drugiego stopnia wobec mitów hamletycznych

Abstract

The article is based on the premise that Hamlet has been functioning throughout ages as a base for contemporary myths. On the basis of conception of myth, introduced by Roland Barthes in Mythologies and its application to considerations upon novel, conducted by Kazimierz Bartoszyński, the author of this article proves mythical status of multitude of Hamlet offshoots. The argument is set in the theoretical context of semiotics, intertextuality, as Heiner Müller in his essay Shakespeare eine Differenz proposes. Myths of Hamlet have been ascribed to ideas of ‘Shakespeare our contemporary’, especially ‘Hamlet our contemporary’ and ‘Polish Hamlet’. Based on this assumption the paper traces the practice of rewriting of Hamlet on two levels. On one hand it traces continuations, ‘supplements’ of Hamlet with special emphasis on Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, Po Hamlecie by Jerzy Żurek and Fortynbras się upił by Janusz Głowacki. On the other hand it demonstrates ‘abbreviations’, ‘condensations’ of Hamlet with special emphasis on Müller’s Die Hamletmaschine and Stoppard’s The Fifteen Minute Hamlet. The article also demonstrates the specifically Polish rewritings of Hamlet, starting from Bitwa pod Mozgawą (1827) by Józef Korzeniowski, through Hamlet by Stanisław Wyspianski, Hamlet wtóry by Roman Jaworski, Hamletyzm and other poems by Antoni Słonimski and Hanna Krall’s Hamlet.