@Clueless_Male@axiochrono@heftycharge a True paradox is not an existent possibility. yes literally a paradox is only an ostensible contradiction, but that is clearly not what OP is talking about; their definition of paradox is the colloquial one or the “True paradox” which cannot possibly exist in the physical world.
I’m gonna whine about this again a bit: INK is such a good play and is especially ripe for adaptation; it’s hard to fuck up source material like that when the playwright himself is adapting it and Boyle is directing. What sucks is that the film will overshadow the brilliant play.
@Clueless_Male@axiochrono@heftycharge No, actually. the ship of Theseus exists in the world of concepts given that what makes it paradoxical are the purely conceptual notions of ownership and history.
@HimChatt Alright, I think I understand much better where you’re coming from. I think I was right in saying we just find very different things interesting as is pertains to contemporary performances of Shakespeare, but that’s okay—I’d even say good!
this is true, but reframe your thinking. several contemporary poets deliberately break metre in their sonnets to emphasize certain ideas or convey specific information purely formally. scott’s performance is arguably the same sort of transgression.
When Peter Hall rehearsed Shakespeare, he used, I'm told, to beat time with a rod on the floor. This was possibly taking it too far; & I know there are different valid approaches to speaking blank verse; but meter & rhythm DO matter. Shakespeare wrote in blank verse for a reason.
@ElYurman sort of the intersection of a parlance issue (lack of a general artistic or theatrical vocabulary), but also (this exhausts me) the way that both critics and lovers of this performance acting as if he completely throws out metre entirely when that is pretty obviously not true !
like why are we screaming attention-seeking unfunny jokes about fantano and just generally being completely socially unaware. complete sweat fest of rym losers with shallow souls.
@HimChatt I think that ownership of the text arguments do fall short particularly when it comes to Shakespeare.
Hamlet is undeniably overproduced and has been well performed countless times, so what makes an individual production meaningful is its recontextual & extratextual and elements!
It’s that free play that makes his Hamlet feel so harrowing. I would argue that the second Soliloquy gets an even better shake then the third, though the third of course is wonderful.
Andrew Scott’s Hamlet is easily among the very best specifically because of his deliberate & formally playful choices in service of truth & at the expense of metrical tradition. He talks about operating from a core of “playfulness” which has always been massively inspiring to me.
Andrew Scott delivers this speech too slowly; I know some viewers will hate the way he breaks up the verse. AND YET even in spite of that I think this is the best delivery of this soliloquy I’ve ever seen.
He makes it sound like it’s not a portentous speech everyone already knows but a morally serious real-time deliberation, by a highly intelligent person in extreme pain, considering what it would mean to end his own life.