1 10 1 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/dd327a085b0edcb994c82d66444229f1.jpg efecd73b34542467451a3955a3e8da36 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/1ebdf40a5cacc024d26ff070b72c6d62.jpg 9d17382321eaacda81abb62387e54eff https://humanities-research.exeter.ac.uk/archivalencounters/files/original/474a17275e50b01a24b7f3306f4365e5.jpg 461207ce63eea2b7f03e25f0c810b6da Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cinema and the Printed Word Description An account of the resource A collection of books produced to tie-in with, promote or capitalise on popular films Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hamlet: a play by William Shakespeare Subject The topic of the resource Hamlet (1948) Creator An entity primarily responsible for making the resource William Shakespeare, Laurence Olivier Source A related resource from which the described resource is derived Hamlet (Play; Shakespeare; 1603) Hamlet (Film; Olivier; 1948) Publisher An entity responsible for making the resource available Benjamin Pollock Limited, London Designed and produced by Denes Studios Limited Date A point or period of time associated with an event in the lifecycle of the resource 1948 Contributor An entity responsible for making contributions to the resource Abhay M. Parmar Rights Information about rights held in and over the resource All rights reserved by Chromoworks Limited, London and Benjamin Pollock Limited Format The file format, physical medium, or dimensions of the resource Book length 218mm; breadth 180mm; height 3mm Language A language of the resource English Type The nature or genre of the resource Companion piece, Fiction, Drama Identifier An unambiguous reference to the resource within a given context Bill Douglas and Peter Jewell Collection #38419 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Making of Benjamin Pollock's miniature theatre based on movie Hamlet (1948) Description An account of the resource Hamlet: A Play by William Shakespeare by Laurence Olivier, designed for Benjamin Pollock's Miniature Theatre in 1948 is a captivating exploration of literary and theatrical history. Benjamin Pollock's Miniature Theatre was like a magical place where you could find tiny theaters made of paper and cards. This special toy shop started in London in the late 1800s and became famous for its small, beautifully crafted theaters. Imagine having your own little stage at home! That's what these miniature theaters offered. They had tiny characters, scenes and decorations from popular stories and plays. It was a creative way for people to act out their favorite tales in a small and charming way. Benjamin Pollock's Miniature Theatre stood out because of how well-made and artistic their creations were. The characters were colorful, the scenes were detailed, and everything looked like a tiny work of art. People loved collecting these miniature sets, and the toyshop became famous for its beautiful and imaginative designs. Even as times changed, the legacy of Benjamin Pollock lived on. His toyshop became a symbol of traditional craftsmanship and creativity. Today, people still appreciate the magic and charm that Pollock's Miniature Theatre brought to the world of toys and play. (Welcome to Benjamin Pollock’s Toyshop - Benjamin Pollock's Toyshop, 2023) Within the pages of this edition, the colored photographic characters, Roger Furse's charcoal scene designs, and the stage designs pay homage to this rich heritage. The book becomes a visual narrative, seamlessly weaving together the timeless words of Shakespeare with the visual aspect of miniature theatre. While reading Hamlet, one cannot overlook the thoughtful intersection of literature and craftsmanship. The book emphasizes one of Shakespeare's greatest works and preserves the essence of toy theatres as a cultural phenomenon. It invites readers to appreciate the evolution of storytelling methods, from the pages of a play to the very well-designed stages of miniature theatres. This edition stands as a small yet powerful essay on the historical significance of toy theatres and their enduring appeal. It summarizes the joy of creative expression and serves as a testament to the timeless allure of both Shakespearean drama and the enchanting world of miniature theatres, inviting readers to embark on a journey through history, literature and the art of imaginative play. (Hoekstra, n.d.) Olivier's dual role as director and lead actor is nothing short of a genius performance. His portrayal of Hamlet becomes a mesmerizing exploration of the human psyche, expertly navigating the intricate layers of Shakespeare's characters. The renowned monologue, including the haunting "To be or not to be," is seamlessly woven into the visual fabric of the film. "To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them." (Shakespeare, Hamlet, 3.1) In this cinematic odyssey, Olivier's directorial choices take center stage. The adaptation skillfully molds scenes to fit Benjamin Pollock's miniature theatre, introducing a unique visual dynamic. However, it is not just the scenes that captivate; detailed sketches of the characters' body gestures add a layer of visual storytelling rarely seen in Shakespearean adaptations. These sketches, carefully incorporated into the narrative, offer a visual feast for the audience. Each stroke of the pen becomes a brushstroke on a larger canvas, capturing the essence of the character's emotions. Olivier's meticulous attention to these visual details enhances the emotional resonance of the play, making the characters more tangible and relatable. "This above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man." (Shakespeare, Hamlet, 1.3) Polonius' sagacious counsel to Laertes echoes through the centuries, and Olivier's direction accentuates the timeless wisdom embedded in Shakespeare's text. The moral complexities faced by the characters come to life, creating a tapestry of human experience that transcends the confines of time and space. The collaboration between Olivier and cinematographer Desmond Dickinson adds yet another layer to the film's visual allure. The play of shadows and light, the meticulous framing of scenes, all contribute to the cinematic enchantment. Each frame becomes a visual poem, enhancing the dramatic tension inherent in Shakespeare's work. "This is the very ecstasy of love, Whose violent property fordoes itself And leads the will to desperate undertakings As oft as any passion under heaven That does afflict our natures." (Shakespeare, Hamlet, 2.1) Love, madness, and the consequences of unchecked passion—themes at the core of Hamlet—are masterfully explored in Olivier's adaptation. Choosing quotes from the original text pays homage to Shakespeare's literary genius and reinforces the enduring relevance of these themes. (Lennard, 1982) But the magic doesn't stop with the characters on screen. Olivier, in a generous gesture, takes the audience behind the scenes, unraveling the mystery of how to construct a miniature theatre. With clear instructions and visual guides, he provides enthusiasts and aspiring set designers with two distinct methods, inviting them to partake in the creative process. In conclusion, 'HAMLET: A Play by William Shakespeare,' directed by Laurence Olivier, is not just a film; it is an immersive journey into the heart of one of literature's greatest works. Olivier's dual role as director and actor, the integration of character sketches, and the exploration of miniature theatre construction converge to create a multifaceted experience. This adaptation stands as a testament to the enduring power of Shakespearean drama, inviting audiences to rediscover the magic woven into every line and gesture. References: Welcome to Benjamin Pollock’s Toyshop - Benjamin Pollock's Toyshop. (2023, December 4). Benjamin Pollock’s Toyshop. https://www.pollocks-coventgarden.co.uk/ Hoekstra, G. B. a. F. E. F. P. (n.d.). Hamlet [Toy Theater] · Interpretations of Shakespeare, or, What You Will. © Special Collections, Claremont Colleges Library, 2016. https://shakespeareatclaremont.omeka.net/exhibits/show/interpretations-of-shakespeare/item/21 Lennard, J. (1982). William Shakespeare, Hamlet. Humanities-Ebooks. Book Companion Book film Hamlet William Shakespeare