『햄릿』 공연의 세 폴로니어스 비교

This paper compares the three different Poloniuses appearing in the three distinguished productions of Hamlet in the latter half of the twentieth century－ directed by Peter Hall (1965), John Barton (1980), and Kenneth Branagh (1996) respectively. The three Poloniuses show in common the role's basically comic characteristics, but in more important aspects each renders the character much differently from the others. Hall's production describes Polonius as a powerful politician, a cruel and crafty machiavellian. His political schemes bring his own death which in turn precipitates the downfall of the whole country. This Polonius contributes to the dark political atmosphere of Hamlet so significantly as to enhance the overall sense of political tragedy throughout the play. On the other hand, Polonius in Barton’s production is portrayed as a loving father as well as a benevolent man rather than a machiavellian politician. He is so devoted to his son and daughter that the tragic deaths of his children, not to mention his own unfortunate death, greatly heighten the overall sense of family tragedy throughout Hamlet. Polonius in Branagh’s movie exactly combines the two opposite Poloniuses in Hall's and Barton’s productions: he is a shrewd politician as well as an affectionate father. With such dual nature, this Polonius contributes to evoking the senses of both political tragedy and family tragedy, both of which are equally pivotal points in Hamlet. Although all the three Poloniuses contribute to the play’s theme, characterization, atmosphere and tragic effect, Polonius in Branagh’s movie is considered the best, for his multi-faceted character touches upon the play’s key issues most comprehensively. In addition, the round character of Polonius in this movie, both by showing strong individuality and by acting as a powerful opponent to the protagonist Hamlet, makes the whole play more dramatic and diversified so as to facilitate the ensemble acting of Hamlet. This paper compares the three different Poloniuses appearing in the three distinguished productions of Hamlet in the latter half of the twentieth century－ directed by Peter Hall (1965), John Barton (1980), and Kenneth Branagh (1996) respectively. The three Poloniuses show in common the role's basically comic characteristics, but in more important aspects each renders the character much differently from the others. Hall's production describes Polonius as a powerful politician, a cruel and crafty machiavellian. His