Pokaż uproszczony rekord

dc.contributor.authorRasmus, Agnieszka
dc.date.accessioned2026-06-12T06:19:12Z
dc.date.available2026-06-12T06:19:12Z
dc.date.issued2025-12-30
dc.identifier.issn2083-8530
dc.identifier.urihttp://hdl.handle.net/11089/58482
dc.description.abstractSeveral months before Russia’s full-scale invasion of Ukraine in February 2022, two Polish filmmakers who specialize in documenting political, social and cultural transformations in Eastern Europe, Elwira Niewiera and Piotr Rosołowski, came up with the idea of combining the Hamlet figure with the then-emerging Ukrainian documentary theatre to draw a portrait of the Maidan generation born following the collapse of the Soviet Union. For this purpose, they cast five Ukrainians and a documentary theatre director, Roza Sarkisian, and asked them to rehearse an experimental version of Hamlet on a stage in Kyiv. The script of The Hamlet Syndrome documentary is based on stories the protagonists shared during and in between rehearsals. The article also features an interview with Piotr Rosołowski, co-director, co-scriptwriter and cinematographer of the film, in which he discusses the origins of the project, its challenges, development, reception, and the use of the Hamlet figure.en
dc.language.isoen
dc.publisherWydawnictwo Uniwersytetu Łódzkiegopl
dc.relation.ispartofseriesMulticultural Shakespeare: Translation, Appropriation and Performance;46en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0
dc.subjectThe Hamlet Syndromeen
dc.subjectH-Effecten
dc.subjectwar in Ukraineen
dc.subjectHamleten
dc.subjectMaidanen
dc.subjectdocumentary theatreen
dc.subjectdocumentary filmen
dc.subjectangielskipl
dc.titleThe Hamlet Syndrome (dir. Niewiera & Rosołowski, 2022) – Drawing a Portrait of the Maidan Generation with Piotr Rosołowskien
dc.typeArticle
dc.page.number271-284
dc.contributor.authorAffiliationUniversity of Lodz, Polanden
dc.identifier.eissn2300-7605
dc.referencesThe Hamlet Syndrome. Dir. Elwira Niewiera and Piotr Rosołowski. Poland, Germany, 2022.en
dc.referencesHoenselaars, Ton. “Afterword: Hamlet’s Infinite Space.” The Hamlet Zone: Reworking Hamlet for European Cultures. Ed. Ruth J. Owen. Newcastle Upon Tyne: Cambridge Scholars Publishing, 2012. 197–200.en
dc.referencesKott, Jan. Shakespeare Our Contemporary [trans. Boleslaw Taborski]. New York: Doubleday & Company, 1964.en
dc.referencesMakaryk, Irena R. “Introduction: Theatre, War, Memory, and Culture.” Shakespeare and the Second World War: Memory, Culture, Identity. Ed. Irena R. Makaryk and Marissa McHugh. Toronto: University of Toronto Press, 2012. 3–21. https://doi.org/10.3138/9781442698376en
dc.referencesOwen, Ruth J. “Introduction: The Hamlet Zone.” The Hamlet Zone: Reworking Hamlet for European Cultures. Ed. Ruth J. Owen. Newcastle Upon Tyne: Cambridge Scholars Publishing, 2012. 1–6.en
dc.referencesRasmus, Agnieszka. Personal interview with Piotr Rosołowski. 19–23 October, 2024.en
dc.referencesSanders, Julie. Adaptation and Appropriation. London: Routledge, 2006. https://doi.org/10.4324/9780203087633en
dc.referencesSokolova, Boika. “Between Religion and Ideology: Some Russian Hamlets of the Twentieth Century.” Shakespeare Survey 54 (2001): 140–151. https://doi.org/10.1017/CCOL0521803411.013en
dc.contributor.authorEmailagnieszka.rasmus@uni.lodz.pl
dc.identifier.doi10.18778/2083-8530.31.17
dc.relation.volume31


Pliki tej pozycji

Thumbnail

Pozycja umieszczona jest w następujących kolekcjach

Pokaż uproszczony rekord

https://creativecommons.org/licenses/by-nc-nd/4.0
Poza zaznaczonymi wyjątkami, licencja tej pozycji opisana jest jako https://creativecommons.org/licenses/by-nc-nd/4.0